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Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

From the co-writer of the iconic Hardcore Uproar, Suddi Raval arrives on Hello World Records with his debut EP — a five-track electronic journey that moves effortlessly between disco, electro, experimental electronics and analogue-fuelled psychedelia.

At the heart of the release is “Laser Beams and Mirror Balls”, the EP's titular track, reimagined by superstar DJ and producer Justin Robertson, who takes the neon-charged original and pushes it into new disco dimensions with his unmistakable production touch.

The journey begins with Robertson's remix before moving into the original French-vocalled version of “Laser Beams and Mirror Balls” — a hypnotic, pulsating slice of electronic disco that sets the tone for what follows.
On the flip side, “Oni Strangler” takes a darker, more hypnotic and exotic turn, drawing the listener deeper into Raval's richly textured electronic world. “Robot Computer” follows with a growling bass machine of electronic stabs, warped drones and relentless low-end energy.

Closing the EP is “Zub Sierra”, a spaced-out voyage through a dubbed-out otherworld before descending into deep, resonating electro synths — the kind of beautifully unpredictable analogue textures that only an analogue Odyssey can deliver.

Across all five tracks, Raval combines electro-flavoured rhythms with a kaleidoscope of electronic textures, forging pulsing basslines, hypnotic melodies and richly layered soundscapes. It's an EP that feels both rooted in the electronic music traditions that have influenced him and entirely of its own time.
Five tracks. One electronic journey. From laser beams and mirror balls to analogue odysseys and robot computers.

Welcome to the new electro world of Suddi Raval.

Out soon via Heads In The Clouds - H004 - Josh Wink & DJ ESP - Stairway To Headphones (12") Re-issue from 1995

Communique Records re-issues an classic by Josh Wink & ESP aka Woody McBride on the sublabel "Head In The Clouds"
from 1995. All tracks are re-mastered and re-recorded from original DAT.
Highly recommended!

CHIWAX presents the 2nd release by David Böning
Another outstanding House Monster by the talented
Frankfurt based producer.
Higjhy recommended!

Jamaica meets South Korea -- following his two BLESSYOU EPs, Turquoise and Journey Home, the Seoul-based artist returns with another stellar contribution, revisiting his early appreciation of reggae music: a 4-track EP by Korean producer and multi-instrumentalist Seungyoung Lee aka Mogwaa, immersing the listener in a rich blend of lovers rock, dub and reggae. The EP combines dreamy, dubbed-out atmospheres with warm basslines, lovers rock rhythms and subtle vocoder textures. Mogwaa approaches these Jamaican influences with a refined and distinctly personal aesthetic, creating a spacious and warm sound that feels both nostalgic and contemporary. Crucial for any contemporary music lover's record collection.

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.

The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.

Naná Rizinni is a São Paulo-born drummer, producer, and composer whose work sits at the intersection of progressive electronics, jazz improvisation, and Brazilian rhythmic traditions. After relocating to London in 2020, Rizinni further expanded her distinctive sound, drawing on influences ranging from contemporary UK experimental jazz to forward-thinking electronic music. A respected collaborator and session musician in Brazil, she has performed with artists including Tiê, Johnny Hooker, Ana Cañas, and Thiago Pethit, and has appeared at major international festivals such as Lollapalooza, Rock in Rio, SXSW, and Primavera Sound.

Her new album,Epiblast, is a deeply personal and sonically adventurous statement. Written and co-produced with saxophonist and producer Mark Cake, the album explores themes of transformation, grief, new parenthood, and self-discovery through a rich blend of acoustic and electronic textures. Combining expansive sound design, intricate rhythmic interplay, modular synthesis, and Brazilian musical foundations, Epiblast draws comparisons to artists such as The Comet Is Coming, corto.alto, Mark Guiliana, and Richard Spaven while maintaining a unique voice of its own. Available on vinyl and digital formats, Epiblastshowcases Rizinni's most fully realized artistic vision to date and positions her as a compelling new voice within the global contemporary jazz and experimental music landscape.

Kraak & Smaak formed in Leiden in pursuit of a particular blend of funk, disco and electronic soul, and over two decades and seven albums, Oscar de Jong, Wim Plug and Mark Kneppers have sharpened a sound that's unmistakably their own: warm, analogue, and always twisting old soul into something new. That sound has carried them from small European clubs to Coachella and American late night TV.
Their 2025 album Velvet Seas was written between Leiden and Los Angeles, and it shows: Californian light and a touch of psychedelia sit easily alongside deep funk and a cinematic reach. The record leaned on a wide circle of guests, among them IVAR, Berenice van Leer, Izo FitzRoy, Butter Bath, The Undercover Dream Lovers, iogi, Kosta G and Kainalu.

Velvet Seas Remixed hands the album's best moments to a curated set of international producers. British disco heritage, classic French touch, Brazilian disco funk, Melbourne club music and homegrown Dutch groove all take a turn, with each producer bending a familiar song toward their own instincts while keeping the album's character intact. Longer, extended versions and alternate mixes round out the full release, letting several of these tracks land in more than one form.




a 01: Nothing Is Forever (Yuksek Remix) [feat. Kosta G]
[b] 02: Travel Light (Diogo Strausz Remix) [feat. Ivar]
[c] 03: Velvet Seas (Ray Mang Remix) [feat. Izo FitzRoy]
[d] 04: Heat (Anoraak Remix) [feat. Butter Bath]
[e] 05: Real Love (Harvey Sutherland Remix) [feat. Kainalu]
[f] 06: Tracel Light (Sound Support Remix) [feat. Ivar]
[g] 07: Heat (Stirmouth Remix) [feat. Butter Bath]

[a] A1 | Nothing Is Forever (Yuksek Remix) [feat Kosta G]
[b] A2 | Travel Light (Diogo Strausz Remix) [feat Ivar]
[c] A3 | Velvet Seas (Ray Mang Remix) [feat Izo FitzRoy]
[d] B1 | Heat (Anoraak Remix) [feat Butter Bath]
[e] B2 | Real Love (Harvey Sutherland Remix) [feat Kainalu]
[f] B3 | Tracel Light (Sound Support Remix) [feat Ivar]
[g] B4 | Heat (Stirmouth Remix) [feat Butter Bath]

Sleep D and Mosam Howieson join forces for an EP that traverses peak-time pressure and deep hypnotic terrain.

Opening with ‘Syphon Filter’, a monstrous techno steam train that sparked the collaboration for the record, starting over five years ago. Industrial klanging to a banging beat. Simple and effective. Chugging along, ‘Inertia’ and ‘Mirror Pool’ offer respite with a psychedelic and emotive strain of techno.

Rounding out the release, Dutch producer Konduku reshapes one Mirror Pool into a stripped-back, fluid remix. Refracting the source material through his distinctive palette.

Asake’s fourth studio album, M$NEY, marks a major evolution in his career, trading the frantic energy of his early hits for a more polished, cinematic sound. The project explores the intersection of material wealth and divine favor, framing his global success as a spiritual journey. Rather than just celebrating the "soft life," Asake uses this record to reflect on the discipline and faith required to maintain his position at the top of the music world.

Sonically, the album expands his signature Fuji-fusion and Amapiano roots with help from long-time collaborator Magicsticks and international producers like DJ Snake. Tracks like "Worship" bring high-octane electronic energy, while "Badman Gangsta" featuring Tiakola offers a sleek, R&B-influenced collaboration. Throughout the project, Asake balances these high-energy moments with orchestral strings and jazz elements, creating a rich, textured listening experience that feels both global and deeply rooted in Lagos street culture.

At its heart, M$NEY is a balance of celebration and introspection. In tracks like "Forgiveness" and "Gratitude," Asake addresses the pressures of fame and the personal growth he has undergone since his debut. He remains grounded in his Yoruba heritage, blending boastful lyrics with sincere thanks for his trajectory. Ultimately, M$NEY proves that Asake is more than a hit-maker; he is a visionary artist documenting his life and legacy with newfound maturity and style.

With Parallel Worlds, RFLX opens a new chapter for Eight of Cups Records, delivering a raw and focused statement built around tension and transformation.

“I wanted to avoid any form of release. With Parallel Worlds, tension becomes the language itself. I was drawn to this constant escalation, something that dissolves linear time and locks me into a different state of perception… where the drop never comes. And that’s exactly the point.”

“By removing resolution, I wanted to keep everything open: a space where perception expands and multiple realities can coexist. Parallel Worlds is not about choosing a direction, but about becoming aware that more than one is always there.”

A four-track immersive EP refusing the conventional payoff, Parallel Worlds unfolds as a continuous escalation, creating a suspended space where perception shifts and different realities begin to overlap.

The release features two original cuts alongside exclusive remixes by JOEY BELTRAM and AT-XYA.

Techno pioneer Joey Beltram strips the title track down to its raw essence, transforming it into a relentless dancefloor weapon driven by physical energy, hypnotic grooves and his unmistakable signature sound.

AT-XYA takes the opposite route, deconstructing and reshaping the original into an ethereal, cinematic journey for those fragile moments when night dissolves into morning and everything suddenly makes sense ;)

Completing the EP is Danxome, a deeper tribal-inspired cut reconnecting with the origin of the concept. In the Fon language, Danxomɛ means “in the belly of Dan”, the cosmic serpent and the origin of the world. Before parallel worlds, there was one.

Parallel Worlds started from a simple thought:
Every day, all versions of you exist. You just don’t see them all. You can stay the same, or you can shift.

The return of Batty Bass is well and truly underway with a brand-new four-track EP from Hannah Holland. Bringing together Holland with long-time collaborators Kurtis Lincoln and Joy Joseph, the EP delivers four killer dancefloor workouts.

'Action Satisfaction' comes in heavy, driven by a seriously mean, ceaseless bassline and Kurtis Lincoln’s unmistakable vocal, with Joy Joseph’s percussion adding another layer of physicality to the track. Lincoln is an artist, writer and performer whose work moves between fine art, rave culture and performance, bringing a distinctive theatrical edge to his vocal work.

Joy Joseph is a drummer, DJ and live percussionist with a long history spanning East London’s New Wave scene through to collaborations with artists including Mr Hudson, Amy Winehouse and Jessie Ware.

'Mitzubishi' takes things somewhere darker. A sinister, heads-down number built for late-night pressure and packed dancefloors.

The remixes bring two fresh perspectives to the EP’s originals. DJ Spilt, known for his raw take on classic Chicago house, brings down the tempo with a sleazy, low-slung groove that swaps peak-time pressure for after-hours swagger. Meanwhile, Wigs turns Mitzubishi into an even more techno-tinged, heads-down affair designed to lock the crowd in and keep them there.

Justin Berkovi presents You're so Alien - The Remixes. His classic track from 1999
comes around new remixes from Johannes Volk, Lee Holman and from Justin himself.
Higly recommended!

Here, two house-style originals meet a pair of remixes that couldn't be more different, and that is precisely what makes this record so exciting. An all-around excellent EP that blends a modern house feel with classic club DNA, offering something for fans of contemporary grooves and old-school vibes alike.

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

"Now and Forever," the latest EP from Boo Williams, showcasing his unmistakable style once again. Known for his hypnotic grooves and infectious rhythms, Williams delivers a collection that embodies his signature sound. Each track on this EP captures the essence of deep house, blending intricate beats with soulful melodies. The production is polished, allowing the music to resonate authentically while inviting listeners to immerse themselves in the experience. "Now and Forever" reaffirms Boo Williams' position as a master of his craft, offering a captivating journey that will resonate with fans of electronic music. This EP is a testament to his talent and a must-listen for anyone seeking quality grooves.

This compilation album is the result of a unique collaboration between PLAZA and Kunstmuseum Den Haag, inviting listeners on a sonic journey through the museum's hidden collection of instruments, previously unseen by the public . On this special record you can hear a diverse range of musicians from the Hague engaging with this music archive through inspiration, sampling or even playing the fragile instruments themselves.

The intriguingly named Pigeon Steve joins Especial for an EP of trippy, psychedelic electronic dance music that goes far beyond its origin – a thirst for all forms of movement – a struggle filled with all possibility.

Since its inception, the label has sought to take inspiration from a wide range of music genres – new wave and new beat to disco-not-disco, post punk and proto-house – never looking for a trend. This belief system expressed is human; intimate and authentic, dissolving and uniting around shared truths and universal values.

Music as ecstasy, the flux of rhythm and sound, to find and be yourself; no guilt, no competition, no games. It is phenomenon – magick – that short circuits through human (emotional) response.

Relocated to South-East London, Glaswegian DJ and producer, Pigeon Steve aka Adam Low, showcases his talent. A dubby, trippy approach to DJing mirrored in his productions; the recent, well-received EPs on the esteemed Offen Music and Weirdos Inc lead here – an EP of sample heavy cuts, wrapped in echo-laden grooves, the beats dripping in psychedelic, new beat and steppers electronica.

Dialect locates us, through its cadences, inflections and intonations we journey through life. Language allows us to escape the lion in a cage. The moment we forget ourselves, we can reach joy and clarity. To live is to exist, the struggle against controls, fighting for an individual destiny.

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies

NEXT WORLD SOUND SERIES vol. 5 continues the line of experimental compilations featuring one side of an artist exploring their individual take on the ambient genre. Pressed in clear green vinyl.
Knox Chandler is an American musician, producer, arranger, and visual artist whose career spans over four decades. He has worked with The Psychedelic Furs, Siouxsie and the Banshees, Cyndi Lauper, R.E.M., Depeche Mode, Grace Jones, and Dave Gahan, among others. After a decade in Berlin, where he developed his layered guitar technique called Soundribbons, he returned to the U.S. and settled on the Connecticut shoreline.
ANNA HOMLER, is a vocal, visual and performance artist based in Los Angeles. She has performed and exhibited her work in venues around the world. With a sensibility that is both ancient and postmodern, Homler sings in an improvised melodic language. Her work explores alternative means of communication and the poetics of ordinary things.
Anna is accompanied by: Jeff Schwartz, a very active Los Angeles-based improvised and experimental double bassist. He leads the Present Quartet, Intangible, and the Soapbox; performs with a variety of ensembles and orchestras; and has written books on music for SUNY Press and Routledge.
David Javelosa a composer, producer, recording artist and technologist based in Mar Vista California. Performing on modular, electronic instruments, he has created soundtracks for many of the major game platforms, and most recently has been performing with Microwave Buddha, a retrospective of his synth pop work in the 1980's.

HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!

Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.

Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.

These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!

A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.

A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.

B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.

B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!

Precious Bloom producer Dea returns on the Rush Hour Store Jams imprint with a fresh four tracker... tip!

The idea for Fairlight began shortly after Aradea Barandana purchased a Yamaha DX1 synthesizer. While exploring its presets, one sound in particular—called Fairlight sparked the initial concept for the EP. From there came the desire to create an Italo wave inspired track that would feel fresh to contemporary ears while still referencing the character of early electronic music.

Rather than following the traditional structure of dance music where drum machines and synthesizers lock into repetitive synchronized patterns the EP approaches composition more like a narrative. The music gradually unfolds, allowing melodies and harmonies to evolve so the listener is encouraged to stay with the piece from beginning to end.

Some of the harmonic ideas draw inspiration from Baroque music, particularly chromatic ascending progressions and voice-leading techniques. In contrast, other moments introduce playful bubblegum-inspired synth lines, adding lightness and color to the overall sound.

The result is a small collection of tracks that sit between nostalgia and experimentation where vintage synthesizers meet a compositional approach that values movement, surprise, and a sense of musical journey.

Doubt Records puts out a release from one of its own: Berlin-based modular live act O/Y whose debut album "Variations" set the tone for a sound moving between micro house, dub techno and downtempo. "Perpetuity Wing" continues that trajectory, threading dubbed-out chords and acid textures through three tracks built for deep, late rooms.

XL Middleton brings you the anthem for "Indeed Indeed," the bi-monthly funk night hosted by Moniquea, Zackey Force Funk, Kaistar, & XL himself. Moniquea & ZFF join XL for a coastal trip right back to the backyard boogie where it all started. Backed on the flip with "Take Control Remix," sure to be the next big thing among funk DJ's, poppers, & every purveyor of all things on the one. It's a remix of a boogie track originally released circa 1982, reworked from a drumapella version and given new life with XL's signature synth brass chords & squiggly leads.

Adepta Editions launches its new FuoriSerie series with catalog number AE/FS-01, a 6-track EP titled Tetsudo by Pauk (Pau Cabruja), a pivotal figure in Barcelona's experimental electronic music and modular synthesizer scene. FuoriSerie is a dedicated series that grants invited artists complete creative freedom, handing over full control of both the musical vision and the visual aesthetic. Within this framework, Adepta Editions operates purely as a platform, empowering artists to build and express their world without constraints. In Tetsudo (Japanese for railway / iron road), Pauk unfolds his signature sonic language through a 6-track journey: a complex architecture built on modular synthesizers, deconstructed glitch rhythms, dense ambient soundscapes, and intricate patterns of friction and inertia. AE/FS-01 stands as an essential release for avant-garde electronic collectors and aficionados of analog-driven, conceptual IDM.

With their sixth studio album, ASN reveal a project in full command of its identity. “Reverie Machine” moves confidently through the many shades of post-punk, grounding its sound in analogue textures while embracing the electronic foundations of dancefloor-oriented wave.

Founded by Libero Volpe in 2007, the project now features Lorenzo Ceccarelli on bass, Alessio Rossetti on guitars and Gianpaolo Cesarini on analogue synths. Together, they carry ASN’s original fascination with kosmische music, science fiction and distant futures into a fully realised interplay of synthesizers, guitars and bass.

Across the eight tracks that make up this outstanding album, dreamlike instrumental passages meet darker songs shaped by evocative vocals, allowing atmosphere and melody to guide the journey. Rooted in the ’80s yet driven by its own imagination, “Reverie Machine” brings these influences together with the assurance and depth of a band at its most mature.

With Shadows is the darkwave alter ego of Jordan Lieb, the acclaimed North American electronic producer also known as Black Light Smoke. Recognised for his house and techno releases on Scissor & Thread, The Hacker’s Zone and Tiga’s Turbo Recordings, Lieb explores a darker, more introspective sound under his With Shadows alias. Drawn from two digital releases on his own Ancient Spells imprint, this collection of electronic darkwave traces a journey in reverse: opening with dark Italo and EBM-inflected technopop, it gradually slows down, sinking into a shoegaze universe steeped in atmospheric melancholy. Cold synthesizers, basslines that pulse like a heartbeat and haunting vocals give way to blurred textures and dreamlike spaces, carrying the listener from the dancefloor into a more intimate inner world. On “There’s a Hole”, his instinct for rhythm meets a deeply personal voice, revealing the emotional weight beneath the electronics. With Shadows gives Lieb room to reach beyond club structures and express himself through songs, bringing his songwriting, vocals and multi-instrumental talents to the forefront and revealing a facet of his musical identity distinct from his work as Black Light Smoke.

Manoeuvres drags you in with stunning percussion that runs throughout the track, but takes you on a Spacey journey with its synthy chords and solos that land you on a far away planet. Now you have landed on Planet ‘Nonna’ the tribe welcome you with a tracky Deep House track that lifts.

Up in the second half with the addition of some shakers and high hats, keeping you locked in. Patience – Feat Margomool. This track is nothing but stunning! An amalgamation of Nonna Fabs Deep musical vibes, production, and Margomools haunting vocal that laces everything up together. Perfect combination in force. If things couldn’t get any deeper, Nonna Fab’s ‘Found The Keys’ sounds like something that’s come straight out of Detroit, you can definitely see Theo Parish getting down to this!

x C2. LIFE DURING WARTIME (ALTERNATE VERSION) 2026 REMASTER
z C3. DANCING FOR MONEY 2026 REMASTER
xb C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

Kennedy John Charles’ forthcoming album tells a story of his life, explained through deep music and his vocal melodies.

It mixes Broken Beat, House and Soul music genres Fluently!

Kennedy met Andy Compton at the Vocal Booth event in Spain in 2024, and they were both surprised to find they only lived a few miles apart near Bristol, UK.

Kennedy came and visited the PENG studio and shared his musical vision, So Andy (The Rurals) assisted to help produce this beautiful album, oozing with Soul & Love!

There’s some HOT players involved in this musical journey, and it’s now ready for your fine tuned ears!

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

With Sunrise and the Life We Live, John Beltran returns to his ambient techno roots, the sound that garnered him global appeal in the 1990s.

Through ten tracks, the album journeys through lush, aerated textures and beatless expanse. Hypnotic grooves deepen and bloom in a flow of shapes and colors, creating a sound that is both meditative and full of life.

Thirty years after the release of his seminal Ten Days of Blue, Beltran's musicianship, vision and desire to produce remain at a fever pitch. With Sunrise and the Life We Live his gift of extracting emotion from the universe and turning it into
a unique musical experience puts him in a class of his own.

A1 Nachdenkliche Wehrpflichtige - Svengali Joe / Hans Nieswandt Edit
w&p by: Von Sternberg, André Rademacher, Diedrich Diederichsen, Johann Bley, Heiner Goebbels, Angelika Winkler. Additional Produktion: Hans Nieswandt

B1 Floh de Cologne - Die Luft gehört denen, die sie atmen / Hans Nieswandt Edit
w&p by: Floh De Cologne. Additional Produktion: Hans Nieswandt

B2 F.S.K - Nokturne / Hans Nieswandt Edit
w&p by: Thomas Meinecke, Carl Oesterhelt, Justin Hoffmann, Michaela Melián, Wilfried Petzi. Additional Produktion: Hans Nieswandt

Revisiting a classic is no easy feat, but Lello Di Franco (aka L.D.F.) breathes new life into the original elements with a fresh groove. Approved by Johnny D and Nicky P, it lands on the legendary Henry Street Music as a special 10" single-sided vinyl release!

Cécille Records revisits a standout cut from long-time label associate Christian Burkhardt, inviting Ben Sterling and Shokë to put their own stamp on “Content Creator”.

Long-time friend of the label Christian Burkhardt, hailing from Frankfurt, has been pushing his distinctive take on house and techno for more than two decades, combining complex, moving rhythms with the warmth of analogue gear. With releases across labels including Cocoon, Cuttin’ Headz, Oslo and Eastenderz, alongside his own imprint CB Sessions and Cécille, his sound has always felt naturally connected to the label.

The strength of the original opened the door for two contrasting interpretations. First up is London’s Ben Sterling, whose UK-rooted house and tech house influences and forward-thinking production style made him a natural choice to rework the track. His remix pushes “Content Creator” into a different space while retaining the character and groove at the heart of Burkhardt’s original.

Completing the package are Naples-based duo Shokë, returning to the label following their “Chiamami EP”. With the release still making its mark in the charts, the duo continue their close connection with Cécille, reshaping “Content Creator” through their own warm, groove-led house sound and unmistakable dancefloor energy.

Christian Burkhardt’s original sits firmly at the heart of the release, joined by two individual interpretations from Ben Sterling and Shokë – three cuts that each bring their own character while sharing the groove and timeless house aesthetic at the core of Cécille.

DJ Support: Kerri Chandler, Chris Stussy, Archie Hamilton, Fabe, Groovesh, Vlad Caia, Andrey P Ush Krav, Thor, Masimillano Pagliara, Dubtil, Reboot, East End Dubs, IULY.B, Josh Wink

Now repressed on Limited Edition green vinyl.

Kerri Chandler’s Kaoz Theory welcomes Amsterdam’s Chris Stussy onto its roster with the ‘A Glimmer Of Hope’ EP.

Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past five years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint. Here though he delivers his new four-tracker for Kaoz Theory.

Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums.

‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...

A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.

Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.

About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.    


DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:

Raw and unfinished. Never released, for various reasons. DAT and compact cassette tapes forgotten in home studio drawers, then boxed away in the basement for decades. After modern mastering, sounding solid and fresh — so why not release them after all?

Kilotoni drops its sixth vinyl-only round of radioactive techno findings. Be prepared for the meltdown and fallout.

A1 Banging acid techno in the Public Energy vein, mixed with the minimal Landstrumm-style funkiness of the 1990s. Raw and minimal, but dialed in just right.

A2 Simple acid house with shuffling beats and romantic chords. Perfect for setting the mood at a club night or an outdoor sunrise.

B1 Tech house from the 90s — or perhaps from outer space. A bouncing bassline and funky drum machine programming are joined by unidentified bleeps.

B2 Wild but unconventional acid techno with shuffling beats and throbbing basslines. Midwest acid and ghetto techno shake hands on a nuclear wasteland.

The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.

Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.

The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.

Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.

Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.

The release comes as a 2xLP gatefold.

Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.

The robots on late-night television kept saying the future was already here. We believed it. We promised the stars that we will visit. It felt impossible. But Dimi parked a rocket in front of our house, we got in. The stars were twice as bright as we launched the opposite way, towards the underground. A1 - Dimi Angelis - Mastodon A2 - Dimi Angelis - Hollow Earth B1 - Dimi Angelis - Tertiary B2 - Dimi Angelis - Habitable Zone C1 - Dimi Angelis - Subterranean River C2 - Dimi Angelis - Megatherium D1 - Dimi Angelis - Cataclysm D2 - Dimi Angelis - Cenozoic E1 - Dimi Angelis - The Icy Web E2 - Dimi Angelis - Volcanic Tubes F1 - Dimi Angelis - Quaternary Limited numbered version of TAR-LP5 with an extra vinyl lathe disc, an extra of 3 tracks. 2x12inch + 1 lathe cut vinyl. All tracks will be available digitally. including: free digital download code with 3 extra tunes, stickered outersleeve, printed innersleeves, printed labels.

The legendary Charlemagne Palestine returns to Black Truffle with KKKAAARRREEENNNIIINNNAAA, capturing a 2025 performance in London alongside two close collaborators of recent years, multi-instrumentalist Daniel O’Sullivan and guitarist Oren Ambarchi. While perhaps still best known for the ecstatic piano clouds of his ‘strumming music’ performances, Palestine’s life-long search for what he calls the ‘golden sound’ has taken in an enormous variety of methods of sound production. Now stretching back an incredible six decades, his exploration of continuous sound forms has led him to mega-instruments from the carillon bells of the Saint Thomas Episcopal Church to the synthesizer armada of the Moog Sound Lab, with stops along the way at many of Europe’s grandest church organs. Just as important, though, has been Palestine’s practice as a singer, beginning with his childhood experience of sacred Jewish music and growing through his studies of Indian and Javanese musical traditions in the 1970s.

KKKAAARRREEENNNIIINNNAAA reimagines a key work showcasing Palestine’s voice, the haunting ‘magic song’ Karenina for falsetto singing and harmonium, recorded in Paris in March 1997 to honour the spirit of Palestine’s recently departed black labrador. In this trio version, which Palestine describes as the ‘karaoke’ version, O’Sullivan controls three cassette machines playing the original recording, their slow drift out of phase creating complex patterns of delays and ricochets as the recorded voice chants the syllables of Karenina’s name and other trance words. Beginning with a held organ tone that gradually expands to fill out the frequency spectrum, the piece soon grows into a dense psychedelic mass, as Palestine’s electric organs and the echoing pre-recorded voices are joined by Ambarchi’s swirling Leslie guitar tones and O’Sullivan’s viola, synthesizer and additional vocals. Atop it all sits Palestine’s live voice, in an extraordinary performance of keening, shamanic intensity, sometimes delivered in melodic unison with his keyboard playing.

Though clearly a work of Palestine’s design that sits squarely within his oeuvre, Ambarchi and O’Sullivan are far from simple accompanists on KKKAAARRREEENNNIIINNNAAA. As the elements of the teeming, emotionally charged stew writhe and twist, different elements come momentarily to the surface, O’Sullivan’s spaced-out viola taking the lead in moments that recall Kosugi’s Catch Wave, Ambarchi’s gliding chords and signature stuttering tones enriching the details of many of the quieter episodes. Throughout all its transformations, the music is buoyed up by a sacred aura, as Palestine intones his hypnotic prayer for the soul of his departed pet. Arriving emblazoned with a striking labrador painting by O’Sullivan on the cover, KKKAAARRREEENNNIIINNNAAA is an essential slice of modern ritual music.

At the heart of ‘Diese Fragile Praesenz’ lies a melancholic yet propulsive drone, constructed from a field recording and drenched in white noise. Around this softly glowing orb Kelovolt constructs a vast, shifting, sombre soundscape. Lush, magisterial pads, starry-eyed synth work, cold washes of tape hiss and static melt in and out of the mise-en-scène. Crumbling walls of bass and distortion collapse in slow motion even as rich, brasslike harmonies elevate the listening mind. Long keening synth notes emerge from the fog, intertwining with falling tubular figures, a journey through a wormhole of sound both monumental and fragile.
The accompanying reinterpretations approach this deeply rich source material with discerning reverence. Voltmar's version deepens the grain of the original, with sharper percussion and washes of static that blow through the mix like little gales of dust. Anthony Linell's PM and AM remixes delve into a darker emotional core, placing at the centre a low, shadowy synth pulse around which mists of tape hiss and distortion swirl. Black Merlin steers the track down the path of eerie psychedelia, echoing clicks and dubwise space around a groove often found in the deeper chasms of contemporary techno.
Elsewhere, Die Wilde Jagd stretches the original into a mesmeric landscape of drones, occasional distant percussion and heavy fog, punctuated by fleeting moments of melodic clarity and beautifully resonant bell tones. CV313's pair of reworks complete the collection by exploring two complementary dimensions of the original through his signature dub approach. The Gravitational Pull mix feels the most true to the title track, amplifying its starry-eyed, celestial qualities, with a softer, hazier version built around a deep bass groove, while the Dimensional Dub descends into vast caverns of echo, resonance and alien texture - strong dub-techno sensibilities loom large in this mix.
Endlessly contemplative, endlessly exploratory, minimood027 is a trip to its own sonic galaxy that spirals inexorably outward, carrying the mind to ever wider astral planes. But at the core is that ever-pulsing drone, the black abyss that draws consciousness powerlessly back into the great nothingness.

DJ AGITATED, the secret techno moniker of a longstanding Belgian electronic music producer, returns to Steffi's popular dolly TS series with his 3rd release: Archive of Disappearing Now. Stepping out of his usual sonic territory to challenge the underground, this latest release delivers a powerful blend of melodic, high-quality, and deeply meaningful techno. Crafted for both the body and the soul, it is a timeless sonic journey that demands your attention. Join the agitated ride!

DJ Support: Carlita, Husky, David Penn, Claptone, DJ Dove, Jonas Blue, Sam Feldt, Hutch, Illyus Barrientos, Mark Knight & more.

Fool’s Paradise’s latest Sampler sees 4 big releases from Soul Avengerz, Sian-Lee, OFFAIAH, David Penn, Thando, Eric B Turner, Tenacious, Jay Vegas & Olav Basoski.

This 2xLP is available for the first time on vinyl and features star- studded guest appearances from talented friends, including Black Thought, Norah Jones, Thundercat and more.

Flashbaxx returns to Groovers Traxx with the groove-packed “Birthday Party EP”, a four-track Disco House
journey built for the dancefloor. Blending classic House roots, soulful textures and infectious rhythms, the EP
showcases his most confident and groove-driven sound to date. This is timeless Disco House for late-night
moments and sweaty dancefloors.

Birthday Party EP dives headfirst into the groove, delivering four straight-up feel-good Disco House cuts built for
the dancefloor. Rooted in classic House traditions, the EP showcases his signature blend of groove-heavy
rhythms, soulful textures and infectious energy. The result of a year spent playing live, absorbing new
influences, digging deep in the crates, and sharpening studio craft, this EP captures Flashbaxx at his most
confident and groove-driven.

This album is a personal diary, assembled from fragments of different chapters of a life. It took shape over five years and holds everything: inspiration and pain, hope and anxiety, light and darkness.

Some of the tracks were written at the height of the pandemic, when the world stood still in uncertainty. Others came in a darker, more restless time, during the war, when every feeling cuts deeper, and music becomes the only way to say what words cannot.

Each track is a moment frozen in time. Together they form a journey through inner states in which every listener may recognize themselves. This album isn’t about genres or trends. It’s about a life lived in music.

Andrea Dama’s second vinyl album features contributions from Argentine synthesiser wizard Ernesto Romeo, Brazilian percussionist João Comazzi and Italian multi-instrumentalist Jolly Mare. The record touches corners where balearic, disco, dubby, and darker electronic sounds meet, underlined by a percussive and playful atmosphere.

There's Something Going On is the second studio album by Babybird, originally released in 1998.

The album is almost unrelentingly dark and mysterious, in much the same manner as his earlier lo-fi productions. Indeed, two of the tracks here, "You Will Always Love Me" and "There's Something Going On," were recorded straight to four-track. Jones' voice echoes out of lyrical valleys. "Take Me Back" is a horrific tale of an obsessive relationship, with lyrics about eyeballs scratched with rusty nails and a creepy chant of "dead, dead, dead" ad infinitum. It's a conceit that starts with the very first track, "Bad Old Man," where Jones sings of wife-beaters and a drowning in a duck pond. Musically, the album is more of a lean toward the baroque than Ugly Beautiful. One might describe it as stark, disturbed chamber pop. Beautiful melodies appear quite majestically out of Jones' psychological studies. "It's Not Funny Anymore" is bittersweet and touching, with Jones reaching for the album's emotional core over weeping, organic keyboards.

"There's Something Going On" is the tender conclusion, suggesting that Jones knows there's a better way of life than obsession and self-torture. There's Something Going On is definitely Baby Bird's most subtle album, and it's a fascinating listen from start to finish.

There's Something Going On is available as a limited numbered edition of 750 copies on turquoise vinyl and contains an insert.

Ursprünglich am 9. Dezember 2024 als reine Digital-Single veröffentlicht und als Nachfolger seiner viralen Hit-Single ,Chicano Poetry" - diesmal mit dem beliebten Soul-Klassiker ,There's Nothing I Can Do About It" von Mike and The Censatios als Grundlage der Produktion. ,Nothing I Can Do" verbindet Obeds gefühlvolle, genreübergreifende Sensibilität mit John Givez' gesprächigem Hip-Hop-Stil und schafft so einen warmen, entspannten Liebes-Song, der von Nostalgie, Hingabe und lockeren West-Coast-Grooves durchdrungen ist. In seinen eigenen Worten: Es ist die gleiche Geschichte wie bei ,Chicano Poetry" - ich habe das Original gehört und konnte einfach nicht davon loskommen. Ich habe es zerhackt, meine eigene Produktion drumherum gebaut und den Refrain sowie meinen Vers ziemlich schnell geschrieben. Dann habe ich es meinem Kumpel John Givez geschickt und er kam mit einem Vers zurück, der das Ganze zusammenhielt. Wir haben es schnell auf die Beine gestellt, was für mich meistens ein Zeichen dafür ist, dass ein Song einfach da sein muss. Es ist ein Geheimtipp - die Art von Song, den die Leute erst spät entdecken und sich fragen, wie sie ihn übersehen konnten." Der mexikanisch-amerikanische Songwriter, Rapper, Produzent und Gitarrist, der in Oceanside, Kalifornien, zu Hause ist, verbindet Küstenmelodien, introspektive Texte und Einflüsse aus dem Latin-Alternative-Genre und lässt sich dabei von J. Cole, Kid Cudi, den Beach Boys und Stevie Ray Vaughan inspirieren. Als BMI Latin Spotlight-Künstler mit über 63 Millionen Aufrufen seiner TikTok-Beiträge verwischt Padillas neueste EP ,RODEO CLOWN - ACT I" weiterhin die Grenzen zwischen Glauben, Nostalgie und modernem West-Coast-Storytelling.

Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.

‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.

The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.

Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.

Sol Novo is a tale of three parts, created by João Comazzi and Murrin of Púca Sounds & Jogada. In many ways a sequel—and a not-so-distant cousin—to 2022’s Cavalo, the pair return to blend their references into a new, ultra-visual language. Spinning through a sonic world mired as much in greenery as it is in the underground, Sol Novo invites you along for the ride.

The title track, "Sol Novo," whirls into a dubbed-out dawn break, collaging through samples and organic ear-catchers while sun-drenched choruses weave through the mix, reverberating as the light lingers.

On the second track, "Pindorama," Paszarinha’s call to the space-warp curls out from under dark blue bass. Fitting equal parts dreamland and dance floor, the track builds a world to get lost in through ever-orbiting breaks layered with Côco rhythms echoing in the deep.

The final track, "Brasia," arrives in full color: a story led by elements of Gagaku with Axêxê chants and a shimmer bathed in vintage synths. Landing like a call to movement that pulls you up and keeps you moving, it’s a kaleidoscopic sound caught between ancient ritual and electronic nostalgia.

16 scrap-rock sketches straight from the heart to the gut…
Maybe we can keep rock’n’roll alive for one more day?
Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms
One G chord away from tearing a diamond-shaped hole in the stratosphere.
Originally Released as a Hallogallo Tape January 2026
Sharp Pins Bassists Strides out under his own banner

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

In celebration of John Coltrane's centennial, this 3-LP boxset includes all 3 albums recorded with Wilbur Harden in 1958 for Savoy Records: Mainstream 1958, Tanganyika Strut and Jazz Way Out. Featuring players including Tommy Flanagan, Curtis Fuller, Doug Watkins, Louis Hayes, Art Taylor and more and cut from the original tapes by Kevin Gray at Cohearent Audio the album is pressed on 180-gram black vinyl at RTI and housed in Stoughton tip-on jackets and new liner notes from Syd Schwartz.