Grammy- and Academy Award-winning rapper and actor Common is widely regarded as one of the most influential Chicago rappers of all time. He is best known for his sophisticated lyrics and jazz-rap, which introduced the world to hip-hop classics such as "I Used to Love H.E.R.", "The Light" and "GO!".
He started his career with Can I Borrow a Dollar? This album immediately drew attention thanks to its top-notch production and clever, playful lyrics. Common worked with contemporary household producers like No I.D., The Twilite Tone and The Beatnuts to create this album, which put Chicago hip hop on the map.
Can I Borrow a Dollar? is available on black vinyl.
Celebrating 30 years since ‘Buena Vista Social Club’ was released, this classic will be made available on limited edition pearl vinyl and features the remastered audio and bonus tracks released as part of the album’s 25th Anniversary in 2021.
Masterminded by the trio of Cuban bandleader Juan de Marcos González, American producer and guitarist Ry Cooder, and British producer and label owner Nick Gold, 'Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album they recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at over 8 million copies, outselling any other record in the same genre.
The acclaim of the original album elevated the artists (including Ibrahim Ferrer, Rubén González, Eliades Ochoa, Compay Segundo and Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, a Tony Award-Winning Broadway Musical and contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder and Executive Produced by Nick Gold for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this album will go down as one of the landmark recordings of the 20th century.
Duality Trax reaches its tenth release with a defining moment for the label, as label boss Holly Lester steps forward with her debut EP. A personal milestone as much as a catalogue marker, the record channels sounds that have shaped her sound to date - early tech house, the low-end swing of UK garage and breakbeat, the rolling pulse of mid- 2000s European dancefloors, and the emotional lift of ’90s progressive house - all refracted through a distinctly personal lens. Open Your Mind sets the tone with a sense of lift and release: a wide, expansive bassline carries skippy, garage-tinged percussion, while bright piano stabs cut through guided by playful, restless FX. Big Fill pivots into tougher territory, a driving cut built on a rolling sub that pulls you into the groove - equal parts pressure and introspection, with moments of dreamlike suspension between the weight.
On the flip, Tanit drifts into more atmospheric space —an ode to Ibiza that still carries a distinctly UK undercurrent. A squelching, elastic bassline and cheeky, garage-leaning wubs provide a foundational groove but everything around it drifts: gated synths shimmer, drums sparkle, half-heard vocals dissolve into the mix and the track unfolds with a blissed-out, cruising energy. It feels just as natural in a dark room as it does out on open water, coasting past Formentera. For the remix, Holly turns to one of her favourite producers of the moment, DJ Life, who draws Open Your Mind into deeper waters. The Berlin via Australia producer stretches the groove into something more hypnotic and submerged, a patient 5am burner that lingers in the air,equally at home in basements, afterhours, and those inbetween moments as night slips quietly into day
Half a century after its original release, legendary Lebanese musician and singer Marcel Khalife—renowned oud player and global icon of both music and activism—returns with a new recording. On this album, he reinterprets four of the five tracks from his debut, Promises of the Storm. A bold defiance of time and history.
Why revisit the same album, 50 years later? The reasons are many, but one stands above the rest: history itself seems to be repeating. The narrative unfolds once more in the same dire circumstances as half a century ago, as if time has folded in on itself, returning everything to its starting point. The urgency, the necessity—it all remains, pressing and inescapable. We must begin again.
In 1976, a young Marcel Khalife found himself exiled in Paris, fleeing the Lebanese Civil War and his family’s Christian village, where his progressive, left-wing ideas had placed him under a kind of house arrest. He was one of the few to openly and unwaveringly champion the Palestinian cause. The situation quickly became untenable, especially since, just a month before the war began in March 1975, Khalife—fresh out of the conservatory—had given his first public concert to great acclaim. Then, everything collapsed. What does one do when trapped at home? Read books, play the oud, and turn those readings into songs. In his family’s de facto prison, Khalife began setting the poetry of the great Palestinian poet Mahmoud Darwish to music. These songs, born of confinement, he carried with him into exile, driving to Paris where a producer offered him the chance to record an album. Naturally, the tracks were the ones he had been improvising at home from Darwish’s poems. The album’s title, Promises of the Storm, echoed the war that was just beginning. Khalife recalls that the album became a hit after a concert at the Fête de l’Huma, where 500 copies were sold in a single day. “Everything started there, and it never stopped,” he remembers. He would meet Mahmoud Darwish shortly after, at a dinner organized by mutual friends. From that moment, a deep friendship blossomed between the two men.
With Darwish’s words and Khalife’s music, the songs of Promises of the Storm are imbued with a powerful evocative force—melancholy, tenderness, and poetic resistance in the face of violence. The album catapulted Khalife to international stardom, leading to endless tours and recordings, yet he never abandoned his commitments.
Now, 50 years later, Promises of the Storm returns in a fresh recording, because history is repeating itself. After the Israeli bombings in Lebanon at the end of 2024, Khalife, who was on tour, found himself stranded in Paris. He remembered a recurring request from his son, musician Bachar Mar-Khalife, who had often urged him to re-record his now-classic debut album. One morning, oud in hand, Marcel knocked on his son’s door and said, “Shall we? I’m ready to record.”
These new versions are stripped down, raw, and intimate—just the solitary strings of the oud. Khalife sings as never before, his voice no longer marked by the fragility of youth but imbued with something deeper, freer, unshackled. It soars high yet resonates low, always clear, as if to escape sadness, to evoke love and violence, desire and exile. In just four songs, Khalife encapsulates a lifetime, and a philosophy of life. Rita tells of a love of Darwish’s, with the haunting line (translated from Arabic): “Between Rita’s eyes and mine, a rifle.” Oummi invokes the figure of the mother as a metaphor for the lost land. Promises of the Storm is a meditation on revolution, the hope for change, the melancholy of defeat, and the power of thought. Passport captures, through poetry, the feeling of being stateless—a citizen of everywhere and nowhere.
Time has only strengthened these texts and this music. History never repeats itself without a valid, indispensable reason for the present. That reason is fully contained in Marcel Khalife’s new interpretations, which have never sounded so clear, so right, so essential.
Initial Interface opens its catalogue with II001, a four-track vinyl compilation bringing together Flits, Justyn Nell, Alessandro and label founder Justine Perry.
Born from years of touring and exchanges within the global underground scene, Initial Interface is an independent techno label dedicated to timeless music shaped by depth, emotional intensity and artistic freedom. Its first release reflects this vision through four distinct contributions, each offering a personal interpretation of deep, hypnotic and driving techno.
From the rolling, immersive grooves of Flits and Justyn Nell to the deep and hypnotic explorations of Alessandro and Justine Perry, II001 moves between subtle tension, rhythmic depth and dancefloor energy. A carefully curated introduction to the label's identity, connecting different voices through a shared commitment to underground techno.
Smallville presents a very special album project – 'Tumbling Cycles' by Billus is here to stay! Ethereal deep-dubby house music from Australia, that feels like finding the hidden-treasure you were not even looking for.
„When I am most enjoying making music, I have this sense that I'm just watching cycles of sound happen and match up in front me on their own and I'm not really just doing anything and it's really nice. Most of these tracks stem from a small collection of
iteratively distorted percussive jazz and breaks that I kept coming back to and watching them cycle around each other.“
This is Billus' approach while he is out in the studio zone. As a result, we all get the chance to scuba-dive into his soundscapes like a warm blanket, interwoven rhythms and cosmic textures, that seem to have the ability to heal. The fresh feels was real,
every time the album went by.
Billus is praised for his impeccable mixtapes for a lot of very special occasions of doing not a lot- make sure to check these out. And Billus produces sprawling music- he released on Naarm labels Animalia, Vessel and Pollinate and he makes music to shyaway in the woods, picking up lil mushrooms if you feel like- or leave these untouched for the same effects.
So while listening to the Tumbling Cycles LP, make yourself comfy and try to work out your own personal scenario, in which Billus' music and his leftfield approach would flourish best. These tracks come with approval by the sweetest dancefloors
around the world and we can't wait to release these to the world. The 2x12“ comes with a stunning full-cover artwork from Stefan Marx.
WOW! An early ’80s New Wave, Electro, Proto-Electronica, Industrial and Kraut-Pop album that has never been released before is now coming out on Elaste Records and it’s a perfect fit! History is being made.
In the early eighties, Michael Heinkel was one of those quiet electronic musicians hardly anyone knew — at least outside of Munich. While machine rhythms were being perfected in Düsseldorf, dilettantism was elevated into an art form in Hamburg and West Berlin was soundtracking its own feverish coldness, Munich seemed to be a place where, apparently, nothing was happening. Or almost nothing. Because beneath the radar, far removed from the grand narratives of those years, Michael Heinkel was already creating his own electronic cosmos — stripped-down, idiosyncratic and often ahead of its time. Electronic minimalist music, born somewhere between a home studio, nightlife and the longing for a future that could only just be imagined back then. But the recordings disappeared into drawers, onto cassettes and tape reels. For decades, they remained a secret shared only among friends, insiders and a handful of close companions. It was only 45 years later that Andreas Dorau and Ralf Hertwig (Palais Schaumburg) — two defining figures of that early avant-garde — insisted that the recordings finally be made accessible. Not as an exercise in nostalgia, but as the overdue release of a missing piece in the history of German electronic music. This music is not a nostalgic retrospective. It is a delayed signal from a future that had already begun back then. Format: Heavyweight black vinyl incl. printed inner sleeve + download card
Quotes: -"Michael Heinkel's long-lost LP is a treasure trove. I'm constantly amazed at the musical gems from the early '80s that are still waiting to be discovered." - Hans Nieswandt (Whirlpool Productions) - „Some München musical history that somehow got missed at the time finally gets released after 40 years. Great album.“ - Hell (Gigolo) - “Awesome album! Today, we can only imagine just how groundbreaking electronic music at this level was back then. When gems like these are heard for the first time in perfect sound quality, it’s like a trip back in time to the early days of electronic music. Back to the future!!!” - Patrick Pulsinger (Cheap / iO / Sluts’n‘ Strings & 909 / The Private Lightning Six) - “Terrific material!” - Roman Flügel (Acid Jesus / Alter Ego / Sensorama / Warp 69) - “ELASTE has unearthed an 80s electronic gem! A German minimal wave gem-freshly unearthed! Minimal, rare, brilliant - an 80s Krautpop highlight.” - Sankt Otten - „Pure and delicious 80s Electronics from Munich. We love it.“ - Gorilla Aktiv
22, A Million is a record of dualities. First released in 2016, Bon Iver's third album found Justin Vernon reckoning with pain and love, suffering and redemption, omens and happenstance. Such ambiguity is the core of how Justin composes words: there are always two ways to see something. Inside a fragmented language of symbols and numbers is a sonic distillation of past years of turbulence and how to recover. Across ten songs, 22, A Million shattered expectations of what a Bon Iver record could be. Through different groups of friends—close, passing, new, old—he began to assemble proto-melodies, vague textures and specific moods from hundreds of hours of recorded improvisations. Songs like “22 (OVER S--N),” “33 ‘GOD’,” “715 - CRΣΣKS” and “8 (circle)” traded familiar structures for fractured electronics, pitch-shifted vocals and dense layers of sound. What initially felt like a radical departure has since become one of the most influential and enduring works in Bon Iver’s catalog. 2026 marks the ten-year anniversary of 22, A Million. To celebrate,
Bon Iver and Jagjaguwar will release a deluxe anniversary edition pressed on Frosted Silver vinyl, featuring new alternative artwork with soft-touch finish and spot UV gloss detailing. The package will include the original 28-page lyric booklet, represented here in 3x silver inks, with an additional 12-page full-color inlay booklet documenting the album’s creative process through previously unseen artwork and an essay penned by Eric Timothy Carlson. The Brooklyn-based artist’s visual work has shaped the Bon Iver world since 22, A Million and his visual language has become inseparable from the album itself. A custom 12-panel ‘inverted cross’ CD edition will also be available.
From the first beat drop, "Paint The Picture" feels like a lost sweet soul tune you might find on an East Side Stories compilation. Frazer's trademark falsetto, catchy songwriting, and effortless soul is on full display here. You'll be humming this tune after half a listen. On the B side, "Back Into The World," Mr. Frazer demonstrates that he's more than just a one-trick lowrider pony. Planting his foot firmly into the modern soul sound here, sounding like something Numero Group would have unearthed years back, "Back Into The World" belongs in your next DJ set when you need something slightly uptempo to get folks on the floor.
What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.
Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.
Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.
In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.
Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.
Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.
»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«
»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«
Fourteen years have passed since Woollen Kits released two albums in a single year (Woollen Kits and Four Girls, both 2012), but Melbourne/Naarm’s beloved Kits are back to remind us what we’ve been missing all this time.
Weather the Storm still draws from the same deck of cards, but opens the door to some more classically renowned influences like The Velvet Underground, Television Personalities, Beat Happening ,Marine Girls, Bob Dylan, Van Morrison, et al.
Across ten tracks it’s clear just how well they can write a hook, a verse, a chorus, a song; bringing together themes of everyday life, love and sincerity with aphorisms, stories and the classic sound we know and love.
Woollen Kits’ approach is almost as minimal and primitive as it was back in 2007, when singer/guitarist Tom Hardisty first sent a few channels into the red on an old Tascam tape machine. Simple chords, strong melodies, witty lyrics and a clear message. It’s a hell of a combination when it’s done well, and one they would only refine from there.
Tom (Hardisty) recruited a second Tom (Ridgewell, drums) and a Leon (Applebee, guitar) to help guide his new Cramps/Half Japanese- worship bedroom project into a real-life band, playing their first gig on NYE ’08 before launching into 2009 to record their first canon release, the Teenage Love 7”.
Yes, much time has passed since the band’s last record, Four Girls, came out in late 2012, but in the interim members have released plenty of other music across numerous projects, including Constant Mongrel, Nun, Canine Apathy, The UV Race, TB Ridge as The Director, Calamari Girls & more.
As a longtime member of Hot Chip and LCD Soundsystem, Al Doyle has spent decades working alongside two of the most distinct vocalists in modern pop: Alexis Taylor and James Murphy. If he’s had a song or an idea, there’s always been someone else he’d rather have sing it.
But on November 20, 2026, the British multi-instrumentalist will release Hollywood Saviour, an album that drove him to finally embrace his own voice. “It’s me discovering a way to write and sing stuff that I could live with,” he says of his first-ever solo outing.
Recorded in his East London studio, Relax and Enjoy, Hollywood Saviour has the feeling—the rush and release—of a breakthrough, of an artist letting go. Doyle’s found freedom in simplicity here, leaning into the many pleasures of guitar-bass-drums, indulging wholeheartedly in the weird, spontaneous, raucous, and raw. He sounds free.
That sense of fun and rampant possibility can be felt in every groove, Doyle finding added inspiration in the loose and the louche, from Sexual Harassment’s 1983 electro-funk raunch-o-rama “I Need A Freak” to Throbbing Gristle’s locomotive 1980 paean to jerking off, “Something Came Over Me,” which is lovingly covered here.
At times, this album feels like a delirious response to the darkness of our current moment. On opener “Hard Times in America,” Doyle offers us a psychedelic window into his experiences traveling back and forth to the United States in recent years, feeling fascism’s hold tighten with each visit.
That sense of character comes through in Doyle’s vocal approach, a giddy combination of Iggy Pop, Pete Shelley, and PIL-era John Lydon. On “All I Want for Christmas”—a dark and devastating highlight—he takes on the shape of a drug addict come holiday season, “both dead and alive,” abandoned by his family, stumbling through a garden of drum machine and piano. It’s a pop song, lovely and lovingly rendered. It just wouldn’t be the same without his voice.
The Forbidden Planet is the new album by Tomorrow Comes The Harvest, featuring Rasheeda Ali. The album explores a wide range of electronic and acoustic improvisational conversations, creating expansive and constantly evolving sound landscapes.
The recording carries forward many of the qualities that have made Tomorrow Comes The Harvest so distinctive from its beginnings. The project originated through the percussive dialogue between Jeff Mills and the late Afrobeat pioneer Tony Allen. When thetwo creative forces first came together several years ago, what emerged was more than a collaboration or musical conversation. They opened a pathway-a way of creating through instinct, exchange, rhythm and freedom. That pathway continues to lead toward new horizons, and The Forbidden Planet is evidence of just how far it can travel.
The album is the result of an intricate creative process spanning nearly two years, connecting a series of recording sessions at notable studios including Criteria Studios in Miami, Soda Sound, and the legendary Studio Ferber in Paris, France.
The Forbidden Planet explores the more cerebral dimensions of the band's vast musical language. An idea is introduced, and almost immediately it begins to transform. Themes are questioned, reshaped and redirected as the musicians respond instinctively to one another.
As Tomorrow Comes The Harvest is known for, the performances were recorded largely through improvisation, often capturing the energy and spontaneity of an almost one-take process. These recordings were later carefully refined and shaped into the compositional structures heard throughout the album.
The creative seeds have been planted in fertile ground, allowing ideas to grow naturally and without restriction. In rhythm and in spirit, each musician contributes an essential voice to the conversation. Within that collective precision lies something even more important: a shared love of musical freedom and the possibility of creating without boundaries.
Prabhu Edouard - tabla and vocals
Jean-Phi Dary - keyboards
Jeff Mills - percussion and electronics
Featuring Rasheeda Ali on flute, with a special guest appearance by Laurent Vernerey on electric bass.
The Forbidden Planet will be released November 20th, 2026 on Axis Records on Double-Vinyl & CD + DVD. The DVD features selected live footage from Tomorrow Comes The Harvest, featuring Jeff Mills, Jean-Phi Dary, Prabhu Edouard and Rasheeda Ali.
Filmed & recorded live at London Jazz Café on September 27th, 2025, the footage captures highlights from the band's unique fusion of electronic music, jazz, percussion and improvisation.
The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.
Amazing Part 2. all groove, all dancefloor, no filler. across all four sides the mood stays the same, beautiful, groove first, dancing first. Nothing forced, nothing loud for the sake of it. Four artists, four classics, one record that just wants people moving
From spearheading France’s jazz-house and electronica scenes, to amassing millions of streams for lauded tracks such as Ode To Love, Manhattan To Brooklyn and Artifice, Tour-Maubourg is a flag bearer…
M-EDITS is a vinyl-only edits series built for DJs who know. Anonymous cuts, stripped back and reworked with the dancefloor in mind. No names, no noise, just effective tools for the right moment.
'Life As A Duck' marks the return of Fergus Sweetland's imprint Pressure Systems and the label's first vinyl release. The title originates from a joke between two friends - friends that are ducks. These ducks found one another whilst discovering themselves, trying to navigate a world built for humans. Being a duck is another way of saying neurodivergent; existing adjacent to everything whilst trying to make sense of a strange planet, determined to remain as true to themselves at the same time as trying to be accepted in society. The tracks were made in direct response to a challenge presented to Fergus from a close friend: strip it back. The test was to apply brain-licking sound design to as few elements as possible and work them into functional club tracks. 'Tickle My Tism' meets the challenge. Fergus' signature low end captures the hips as the tension builds, expanding into an unexpected soundscape with precise smoothness. 'Trouble In The Bubble' is a dark yet dubby rolling club track full of texture and soundscapes. Nørbak's remix of 'Trouble In The Bubble' strips things down further with the Portuguese Garage (PTG) version, providing a more club-focused slant to the tune. 'Mind Easer' closes out the EP. The concluding track was written to ease the mind of a fellow duck when their feathers were ruffled by life. Its soothing focus allows one to melt into the sound and calm their mind. It tells you that everything is going to be okay. Expect the unexpected as Fergus' distinct sound design carries you through a four-track journey that emphasises that less is more - from a duck just trying to do his best.
Kicking things off, Suavy AF sets the tone with a sensual, groove-driven cut that balances raw energy and playful finesse. Tight drums, cheeky edits and a laid-back swagger make this one built for both heads-down listening or late-night dancefloor moments. Lemon & Mint, showing they're not here to play it safe.
On the flipside, Synkro takes the original into deeper territory, stripping it back and reshaping it with weighty low-end and a more introspective swing. He offers a more hypnotic take that hits just as hard in its own way. A perfect counterbalance that rounds out the release with class!
Dansu Discs turns a page with "Origins Vol. 1" - our first ever 4-tracker vinyl, a collectible for the books. This one marks the moment Dansu steps off the screen and USB's onto wax. For the heads and the fans who've been with Dansu from the start - because this label has always been a collective.
The VA takes listeners on a journey from their lofi house beginnings with X-Coast, through to the new wave of house talent dominating the scene from artists Gaskin and L.P. Rhythm, to the high energy piano house sounds of Amsterdam newcomer Renceau.
A milestone release, and just the beginning of the series.
Amsterdam-based Moody Mehran captures the atmosphere of a soft Mediterranean sunset perfectly. Just in time for late summer, the Dutch-Iranian artist debuts on SEVEN with four trance-infused, uplifting cuts, alongside a remix by Maruwa. The EP channels a distinct Balearic-leaning, '90s trance sensibility. Melodic, sun-drenched and emotionally direct. Built for open-air floors and festival moments, these tracks are driven by shimmering synth sequences, rolling basslines, crisp percussion and psychedelic sound design. It’s a sound reminiscent of trance’s golden era reduced to its essence: simple, euphoric, and highly effective.
"With just a handful of teasing plays, the ID requests for this tune here have been snowballing out of control. And rightly so. The track is a coproduction of Keinemusik's own Adam Port and California based producer Stryv. Both met in Kreuzberg, exchanged some ideas and came up with „Move" - the undeniably most sensual and well… moving club anthem of the season."
Blur Records marks eight years of international artists and bright, instrumentally rich disco jewels with the second part of its anniversary compilation. The super reliable Monsieur Van Pratt opens things joyfully with 'Just Wanna Make You Dance' complete with strutting bass and disco-house grace that never stops soaring. Delfonic's 'Diamonds' brings filtered depth and a soulful sparkle that supports the glittering vocals. Reiner Von Vielen & Dizko Kreme's 'Good For You' rounds out the A-side with more rooted, chugging disco and a vocal that tugs at the heart. Flip it over and N.W.N.'s seven-minute 'Twin Souls' is a soulful house dreamer, Andy Bach's 'Keep Going On' samples a classic horn riff in a rolling groove, and Sven Wegner & Reiner Von Vielen close with the sophisticated and jazzy house cool of 'Inside Of Me. ' Here's to the next eight.
Do you know what time it is It's debut o'clock. Emitting his first material for Pampa, it's &ME - craftsman of all things deep and sturdy, at the same time connoisseur of emotive touch and virtuoso of sure instincts, one of the scene's central characters for a good amount of years now and one of the main figures of Berlin's Keinemusik-crew. The man has been hitting the bulls eye of public perception several times in the past, meeting everything it takes to get a crowd going with an intent on the detail when it comes to his arrangements and sound. These new two cuts seem nothing less than the essence of his abilities.
There is "In Your Eyes", the name lending A side to this EP, showcasing a rather pensive mood. It's just a few bars for the compound of kickdrum, tuned hi-hat tambourine and shimmering background noise until the first chords of an improvised piano-piece are tenderly laid upon the beat. Add a synth-motive coming back and forth and you'll have the main ingredients to this - in every sense of the word - floor-moving tune. Accordingly, the arrangement won't aim for an all too obvious sensationalism and rather opts for a flowing and intertwining call and response of its elements, ultimately resulting in a staggering impact anyway.
In comparison, "As Above So Below" on the flipside is adding a fair amount of emphasis. It unfolds in a dry and dense sounding beat-architecture that's suspense-packed with shaker sounds and subtextual field recordings. Most certainly, a slip-proof ground for this tune's centre-piece, a scale-riding synthbass sparking an almost anthemic trigger for floor-ecstasy. While details like subtle reverberating tapping and sparkling ambient textures sound like recorded deep down in a dripstone cave, the overall energetic layout pushes relentlessly to the heights of peaktime-grandeur. There you have it: "As Above So Below" - this tune works on every level.
"La Duquesa", the most tender and most refined piece of the album Amygdala, perfectly casual and serious, deep and euphoric, all at the same time, is dedicated to the Spanish Duquesa de Alba, who, as holder of 46 titles of nobility, is even more highly decorated than Queen Elisabeth. Koze is fascinated by this lady: With her peculiarly creepy appearance she seems like a relic from the past era of the Spanish nobility. She is the most pictured woman in Spain and a pop phenomenon. When, in 2011, she married a man 24 years younger than herself, the entire country badmouthed her. Sometimes Koze would love to be that younger
man, who the Spaniards dismiss as a legacy hunter! Encore the needle is cookin'. Dj Koze did it again. His homage to Audrey Horne. "Burn with me" - a fucked up, deep and schizophrenic brainfoodbouncer with legato bass and hi hats way out of time. The beat burst like shagging, the dirty off hi-hat lashes remorseless in the twatherd - everyone just wants to get laid straight away.
*Kissa* is an immersive ambient electronic project crafted by Mathias, drawing inspiration from the serene and evocative atmosphere of Japanese jazz kissa cafés. These intimate spaces, known for their deep reverence for music, serve as the foundation for *Kissa’s* sonic landscape—where warm nostalgia and futuristic minimalism intertwine. Consisting of eight expansive compositions, *Kissa* abandons traditional rhythmic structures, allowing sound itself to guide the listener. Ethereal textures, evolving drones, and subtle harmonic shifts create a meditative experience that blurs the lines between memory and imagination. Each track is a portal—an invitation to lose oneself in sound, to explore the spaces between notes, and to embrace stillness as a form of movement. With *Kissa*, Mathias redefines the boundaries of electronic music, crafting an experience that is at once deeply personal and universally resonant. Whether serving as a soundtrack for introspection or a companion for late-night contemplation, *Kissa* embodies the essence of timeless listening—where music is felt, not just heard.
Classy US deep house operator Vick Lavender often holds back different versions of his music for his own use, but Mister Bear has teased some off him for this new EP. 'Spirits' and 'Time & Time Again' Both come from his beyond album and get served up here as two Time Traveller mixes. The former is a sax-laced and soulful jam for sunny afternoon sessions outside, and the latter is a richly musical house odyssey. 'Galactic Traveler' is included as a bonus that brings magical melodies to the fore and lets them run free over a shimmering groove full of life-affirming spirit. Three belters, packed with invigorating vibes.
Oráculo Records joins forces once again with Unknown Pleasures Records under the banner of “The Black Alliance” to celebrate one of electronic music’s most influential acts: SUICIDE. Widely regarded as pioneers whose radical approach helped lay the foundations of minimal synth and darkwave, Alan Vega and Martin Rev receive a tribute from artists who carried their influence into new territories. Absolute Body Control, Gabi Delgado of DAF, Patrick Codenys and Richard 23 of Front 242, and Dirk Da Davo of The Neon Judgement appear alongside some of the most compelling contemporary projects in the international dark music underground. Spread across two records, this collection of cover versions also features SUICIDE songs revisited by Alan Vega himself with Marc Hurtado, presented on vinyl for the first time. Their presence creates a direct connection between the original voice of SUICIDE and the generations shaped by the duo’s uncompromising vision. An instant classic in spirit and scope, “SUICIDE Pioneers’ Celebration” honours a legacy that continues to resonate across the underground. Produced in a one-off pressing of just 500 copies, this is a collector’s edition to discover, play and treasure for years to come.
Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.
The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."
All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."
Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.
2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker
A leader of the Portuguese wave in techno co-founding Hayes Collective while boasting acclaimed releases on Klockworks, Blueprint, and Soma, Temudo grabs the reins to take club music back to its days of audacity and risk taking. A more than promising up-and-comer turned modern reference, Temudo defends his reputation with a release showcasing depth in his various sonic universes and a deep understanding of his music's history. For its seventh release, Temudo's 'Meteora' is a logical next step for the club's direction - a sweet spot between dancefloor efficiency and enduring aesthetic.
Combining the intrigue of mental soundscapes with the reliability of imposing rhythm, 'Meteora' finds itself collected, expressing effect through restraint. The title track, claiming the EP's A1, is just that - a force of interweaving sound design and powerful micro transitions. Some believe the best techno records are able to express emotion and attitude despite its dissonant and machinelike nature; if that's the case then Temudo has mastered the craft. 'When I Grow Up', however, puts the focus back on the body. What sounds like warbling tape modulation over a percussive lead makes this record an addictively delirious ride from start to finish, fitting in with the track before while shifting to different priorities. Proving his versatility, 'Vrthng' at first seems reminiscent of the minimal Berlin style with a higher pace, but quickly progresses into something intensely euphoric. With experience and measure, an out of the box approach can really pay off, and the added emotion in 'Vrthng' is certainly a turning point in the EP. This mindset is clearly carried over in the project's conclusion : 'It's Always Past'. A surprising use of harmony and storytelling, this final chapter ends with Temudo sealing his style with confidence. The track is mystified by its chords, ending 'Meteora' with a question mark that leaves us in anticipation for what Temudo dares to do next.
Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.
Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.
He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.
Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.
Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.
The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.
Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.
This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.
1st repress of the rare UK compilation “In Reggae Time”.
Originally released in 1970, it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub-labels.
The sound is not just Reggae—it’s only marginally so—offering a vibrant mix of 1960s UK mod, R&B, Ska, and Northern soul.
“Nothing grows in the shadow of great trees,” said Constantin Brancusi when leaving Auguste Rodin’s studio. The same holds true in music, as Richard Raux’s journey proves. At the end of 1970, after recording the debut album of the legendary band Magma, which he co-founded, Raux set out to explore new musical horizons. Under the names Faarmadin and later Hamsa, he crafted a sound deeply rooted in jazz and improvisation, yet daringly open to experimentation.
A devoted admirer of Charlie Parker, Raux played bebop alongside René Urtreger and performed with Bernard Lubat’s Percussion Expérience. Jazz is a cornerstone of Hamsa’s iconoclastic approach, blending seamlessly with psychedelic and progressive rock, and the rich musical traditions of Madagascar, where Raux spent his formative years.
Hamsa is as much a personal endeavor as it is a “family affair.” Alongside his brother Patrice on guitar, Raux brought together a circle of friends—Alain Lecointe (double bass), Jean-Lou Besson (drums), John Faure (guitar), and Alain Pistre (percussion)—to record at the iconic Château d'Hérouville, just outside Paris, at the end of 1974. Yet the spirit of Hamsa is deeply Malagasy, rooted in the village of Andranomadio, which gives its name to the album’s opening track: a vibrant explosion of percussion and color. Africa’s presence resonates throughout the record, whether invoking Brotherhood of Breath (Chris McGregor) on “Johanna,” the Malagasy-infused work of Jef Gilson, or paying homage to John Coltrane’s Africa.
Far from being “just another fusion,” Raux’s music dazzles and transports. The saxophone-guitar unison on “Ahiri Lalita” captivates, the vocals of “Fahamadina” sweep you away, and the manifesto of “L’exploité” hits hard—yet with a liberating warmth. Sunshine and joy shine through on the album’s closing track, “Cultivate the Garden of Your Heart” (with Alby Cullaz on double bass and Jean Padovani on drums), capturing the ethos of Richard Raux and Hamsa—and now, ours too.
Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It’s no wonder that “Just the Two of Us” and “Ain’t No Sunshine” won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of Fame.
Naked & Warm is Withers' fifth studio album, released in 1976. A year earlier, the Sussex label—home to Bill's first four landmark albums—ceased operations. Withers then signed with the mighty Columbia Records, which would remain his home until the end of his recording career. While Naked & Warm retains Bill's unique, earthy approach to soul that made him Sussex's biggest star, it's clear that musically too, he was in transition; the first half of the album is full of synthesized jazz-funk vamps, while "City Of The Angels" is an almost 11 minutes long cosmic funk excursion combining biting Rhodes chords with swirling synth pads and Dorothy Ashby's spiritual harp work. All in all, Naked & Warm might be one of Bill's most underrated records, simply because his previous work for Sussex was just that impactful.
Naked & Warm is available as a 50th anniversary edition of 1500 individually numbered copies on blue vinyl and includes a 4-page booklet featuring lyrics and new liner notes written by Marcia Withers.
Sohrab Karimi is doing a fine job of establishing his still young but increasingly vital label Kolony Gorky with another superb two-tracker here. 'Work It!' kicks off at pace with slick, punchy tech house drums, but the structure of them is offset by liquid synths, trippy details, and warped melodies that bring an after-party vibe where space and time melt away to a fuzz. On the flipside is a deeper jam, 'Yousef Abad, which is slower, more dubby and soothing for those late-night hours when you just want to lock into a groove and zone right out.
FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.
Deep frequencies beamed out from Brixton’s front line. Four highly sought-after cuts from Grant Dell’s back catalogue that need little introduction now gathered onto a single 12”. The record highlights the infectious and rolling house groove Grant became synonymous with in the early 2000s which is as relevant today as it was then.
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Recorded between 2002 and 2005 the record features ’So Good’ originally released on Jay Tripwire’s Spaced Out and ‘Acid Bubble Baby’ ft. DJ Deano on Stupendous. The other side see’s a reissue of Grant’s Chicago Transit Authority alias with ‘Still Disillusioned’ and also ‘Be Good Tonight’ originally released on his own label, Cove Records.
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Written and produced between 2002-2005 by Grant Dell except A2 featuring DJ Deano.
Remastered by Justin Drake
Pressed by Vinyl Presents
Distributed by Palace Vinyl
“Lazaar Vanderschrick? What in the hell kind of name is that?” After spending the better part of half a decade trying to wash every possible ounce of music industry dirt off of him, Victor De Roo returns to Stroom and Kontakt Group once again. But this time he comes bearing more than just music as the man has discovered yet another hidden talent and has now become Victor De Roo: Producer/DJ/Performer/Journalist/Teacher/Writer. For “Mauvaise foi (Feat. Iwza)” is the single accompanying his literary debut “Heil”, a tragi-comical novel set in the tristesse of Charleroi amongst desillusioned bar-punters, revolutionaries and self-proclaimed prophets.
DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.
Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.
There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.
Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.
For DAYBREAKERS, this is a proper fit. Buy or cry.
DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.
Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.
There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.
Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.
For DAYBREAKERS, this is a proper fit. Buy or cry.
In the history of hip-hop, certain collisions alter the orbit of the culture entirely. When Busta Rhymes first stepped into the otherworldly, swing-heavy universe of J Dilla, it was an alignment of two unstoppable titans—the most chaotic, kinetic vocalist in rap history meeting the quiet deity of raw soul and sub-bass perfection. Their original pairing set a gold standard for what happens when top-tier lyrical warfare meets sacred production. Now, the vault opens to unveil DILLAGENCE II: a resurrection of that mythic frequency, bridging the raw grit of the streets with a legendary, earth-shattering grandeur.
Authorized directly from the Yancey estate, DILLAGENCE II pairs Busta’s razor-sharp, rapid-fire flows with Dilla’s nastiest, most sought-after unreleased beats. Built upon rare MPC canvases unearthed from Dilla’s legendary vault, the album captures both masters in a state of absolute, unchained ascension. Every track hits like a heavyweight knockout—blending off-grid snares, filthy basslines, and soaring soul chops with Busta’s apocalyptic precision. He treats every lost Detroit tape like a battleground, unleashing a larger-than-life energy that turns unreleased boom-bap into a stadium-sized manifesto.
Forget the cheap nostalgia cash-ins and posthumous butcher jobs. DILLAGENCE II hits with the weight of two master craftsmen operating at the absolute peak of their powers. By locking Detroit’s deepest low-end grooves directly into New York’s loudest, most relentless vocal engine, this record doesn't just honor Dilla's legacy—it kicks the door off its hinges and demands you listen.
FORT is launching a sub-label, NOCOWALNYA, and introducing its debut release.
The new label's guiding principles are authenticity, the personal taste of its founders, and a synergy of opposing sensibilities: melancholic romanticism and raw, uncompromising rhythm. The first release is the EP NOCOWALNYA 001, recorded by three key figures of the label: Nocow, Valentin Fufaev, and DJ Designer.
NOCOWALNYA deliberately steers away from the canons of classic techno, trance, or house. The label is built as a space for artists ready for unconventional forms and bold experiments, a place to express their individuality.
The sub-label's visual symbol, a logo of two young men standing on an anvil, sums up the idea perfectly. It's a manifesto of duality: fragile sensitivity set against a cold, industrial beat, romantic motifs joined with dense, hard-hitting sound.
It's fitting that the sub-label takes its first step with its three founders, who stood at the origins of FORT. NOCOWALNYA 001 distills their shared vision and shows how different creative approaches can come together as a single monolith.
The result is a techno-trance hybrid where driving energy meets sincere musical drama. This release doesn't just open the new label's catalogue, it sets the direction for every single and mini-album to follow. The release will come out in two formats: digital and vinyl.
10 years since his first edits outing on RNT, label co-founder JKriv digs into his deep well of reworks for a four-tracker of cheeky dancefloor madness. Coming in hot on the A side, I Feel Amor is modern twist on the disco classic anthem, a peak time weapon of epic proportions with hard-hitting beats and churning synths, and the inimitable sing-along vocal (pero en Español). Love Dub is a stripped down deep house affair, a solid driving groove with thunderous bass, synth accents and acapella flourishes. On the B-side, Cuando Bailo is the edit you didn’t know you needed; a callback to a bygone era of one-hit wonder magic, flipped masterfully to be all-club and just a sprinkle of camp. And rounding off the record Dance Sexy takes an obscure purple-hued cover into hypnotic red-light territory, with funky synth stabs riding a pulsing and infectious bass line, in classic JKriv fashion.
Magazine Announces 15th Anniversary Remaster of Barnt’s Techno Classic Geffen
Cologne-based record label Magazine celebrates the 15th anniversary of Barnt’s visionary anthem Geffen. One of electronic music's most defining tracks of the 2010s will be reissued in a 2026 remaster edition, marking the first time it receives its own dedicated standalone release.
Originally published on the legendary Cómeme imprint as part of the Various Artists EP The Power Of Now, the track rapidly became a global phenomenon. Looking back, one can hardly imagine Geffen without the 2010s, or, conversely, maybe even electronic music of that era without it. The composition mirrors the expressive possibilities of bedroom producers at the beginning of that decade—an era where artists could launch tracks into the world and have them resonate through their sheer sonic power, without major marketing efforts.
Barnt remembers: "It was one of my earliest tracks. I had just entered art school and didn't own much equipment. My MIDI keyboard only had two octaves. I would always play notes with my right hand while simultaneously shifting through the octaves with my left. This is how the hook line came to life. The production only consisted of seven or eight stems, and barely any equalizers were used during the mixdown. In hindsight, this sparse approach to production probably made it sound different and is why it hits so hard on big sound systems (while sounding unfinished to some on YouTube). At that time, we were doing a small festival on a playground in the center of Cologne. When I played the CDR there, Matias Aguayo demanded it right after. That is how it ended up on Cómeme."
The release comes with two very Magazine-esque reinterpretations from the label's two other co-founders alongside Barnt: a powerful atmospheric club remix by Jens-Uwe Beyer, and Magazine Hallucination, a wild, collaborative, psychedelic mutation by Crato and Beyer.
Jörg Burger, who already mastered the original track, is also responsible for the mastering of this release.
Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.
Please can someone please give me a better word for Sexy? Because the thesaurus is giving me ick...Send help because this is a SEXY record – and (football analogy incoming) – a sexy summer signing....
Yes, that’s right ODF’s summer transfer to the Shall Not Fade main label is complete. ‘The Rhythm Grooves’ makes a hat trick of 12”s for us after the UK OTW producer’s double sell out EPs ‘Deep Step’& ‘Rock With Me’ on our Time is Now imprint. The UKG and grooving breaks specialist has been developing his game and steps into House territory for something of a statement EP and we’re (hot and) here for it. Since launching his own On Da Floor label last year ODF has been on a tear and this record perfectly encapsulates why. Four double threat tracks that can be weaponised both as main stage WMDs or as deadly 3am tickets to another place....
This invisible dichotomy is most clearly on show in title track & A side opener ‘The Rhythm Grooves’ is equal parts hot under the collar and hands in the air. Deep and sexy house but with a stepping baseline and a big vocal. ‘Free Your Soul’ stays deep, a swung jacking house cut with big M1 stabs and piano riffs and cheeky breakbeat breakdowns. That palette is timeless and there’s every reason this track will be too.
The B-side leans more into sweaty room & heads down territory but just like before there’s that double threat and we’ve seen both these tracks go off in big rooms at peak time. ‘Back to Mine’ calls back to that sweet spot in the early 2000s with French Touch inspired tech house was dominating Ibiza...Sleazy and sunbaked? Check. But what we didn't realise was missing w as some Accieeeed. Big shout from ODF there.. ‘Do You Feel Me?’ closes out in celebratory style. A proper tech house tool complete
with chugging bassline and more sexy breathy vocals. It’s the after hours roller.
A serious note to close, because I don’t want the playfulness of this press release to make you overlook this (sexy) EP as it’s appeal is more than skin deep. Having sat with – and lusted over –these tracks for a while I can tell you that they just get better (and hotter) with every outing. The Rhythm Grooves is out 28th August 2026 on Shall Not Fade.
In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome
Following the launch of the SOMA35 project with a celebration of Soma’s enduring catalogue, SOMA35.2 turns its attention to one of the defining releases in Soma Records history—Surgeon's seminal 1996 EP, Muggerscum Out. As Soma Records continues its 35th anniversary celebrations, the SOMA35 series shines a light on the records that helped define not only the label's identity, but the evolution of techno itself, creating a dialogue between the label's past, present and future. Originally released at a pivotal moment in UK techno, Muggerscum Out captured Surgeon at his most uncompromising. Its stripped-back intensity, industrial edge and hypnotic power would go on to become hallmarks of Birmingham techno, influencing countless artists while cementing Soma's reputation as a home for fearless electronic music. For SOMA35.2, four respected producers each take a unique approach to reimagining these timeless cuts.
'Church & Raves' is a great title for an EP given the strange relationship between the two. You're unlikely to get many people in the UK who go to both, but at the same time the communion of a good dance is often likened to the joys of collective experience that people feel in their chosen place of worship. Jazz pianist, organist, composer and bandleader Jonny Liebeck brings together a background in both here: 'Dancefloor Motive' and 'In My Feels' run jungle's rhythmic urgency through a jazz sensibility and breakbeats are given real harmonic depth rather than just serving as a backbone. 'Underground Soul' and 'Modal House' lean closer to classic house but with those Latin jazz touches from his debut still lingering in the margins. A thoughtful, well-crafted EP for anyone who wants their music with real substance.
The prodigious producer Felipe Gordon returns for the fourth time on Clone Royal Oak. This time with an expansive six-track release that showcases his signature blend of rich, groove-laden tracks. The Titular instrumental Profundo sets the tone for a fusion of jazz, soul, and vocal club-ready tunes. More than just a collection of tracks, Profundo is an exploration of Gordon's inner world through warmth, emotion, and refined musicianship. Showing once again why Felipe is at the forefront of house music right now.
*TIP* Previously released on Low Company in 2023, now back... a weirdo lo fi gem
Naturestrip, Naarm, Australia write:
"purely physical teeny tapes perform an invaluable public service in exhuming static cleaner lost reward’s ‘breathing under honey from the heady year o’ 2023’, a slack-jawed riddle within the all-consuming enigma that is thee world of tarquin manek™.
few records command a reissue so soon after their release, the soil heaped atop the (sainted) low company corpse still remaining more than a little damp, but this one’s discreet-to-the-point-of-fury initial release justifies the flogging of the proverbial carked horse, boiled back down into glue for a fresh round of rollicking mucky. arriving as the last release on that fine imprint, ‘breathing under honey’ represents (obliquely, natch) something of a convenient summary of that aforementioned elegantly sloshed world™, condensing as it does the artist’s proclivities exercised among the sweetest of contemporary depth-dwellers, articulated alongside/within y.l. hooi, bum creek, carla dal forno, f ingers, kallista kult, under endless solo monikers…the fun never ends.
let loose here in a suitably gonzo/spellunked mood, the second full-length under the static cleaner moniker (see debut $mile$ from 2013 thru altered states) is compiled of delirious half-thoughts & riddimic gestures accumulated between 2013 & 2020, everything wet & awash with a fine sprouting of lysergic mush between its digits. the implication thereof might suggest something schlonky or amateurish, but fear not, prospective listener, for your ears are in the sticky hands of one of the finest shit-savant prodigies these times have known, crud-caked technoid shapes & blissed pop-glob nous submerged in sublime dubbed-out grog, the resulting sonar-pong shards positively chemical in their ability to simultaneously slant + seduce.
think: martin denny face-deep in a paper bag at the black ark, graciously fucked tropicalia, liquid dub techno housed in vat of spiked quaff, the skaters infiltrating urban tribe, lopsided + caked to the nines in glitter for the gutter.
utterly tranced, sumptuous/sweet & patently ill. a classique of this modern horror epoch if there ever was one."
On the occasion of the 40th anniversary of the release of Remek Depo, the very first electronic record from the former Yugoslavia, the group Beograd has decided to unveil eight previously unreleased tracks in the context originally intended. The band initially planned to title their first album as Mrak ( eng. Dark). Recorded with Du Du A and other collaborators, this album serves as a manifesto of resistance—not only in Belgrade and Yugoslavia but everywhere else.
The A-side opens with the track 1984, named after George Orwell’s seminal novel. This piece was recorded in a single night in the same year, featuring Zoran Zagorcic (Du Du A) and one of the first Yamaha DX7 synthesizers. It encapsulates the dark and tense atmosphere of Belgrade during a period marked by economic crisis, characterized by shortages of essential products like coffee and oil, as well as electricity restrictions. This oppressive environment also impacted personal relationships, leading to unconventional expressions of passion and desire, as exemplified by the subsequent track from 1985, Mracni Predjet Zelja (eng: That Obscure Object of Desire). However, the primary source of frustration was political, stemming from the abuse of nationalism and the incitement of inter-ethnic conflicts within the complex Yugoslav society. This sentiment is vividly illustrated in the songs Hare Krishna and Belgrade Beat, recorded just before the country’s collapse in 1991. Remarkably, despite their protest, these songs convey messages of strong optimism and hope. In “Belgrade Beat Dejan Kostic (Du Du A) raps and Dejan Stanisavljevic sings. ”Od Studija B do Amerike, Beograd širi svoje talase, mi nismo sami u nama je svet, dolazi veliki preokret” (eng. “From Studio B to the USA, Belgrade spreads its waves, we are not alone, the whole world is with us, a great change comes!”). It is no surprise that this song was frequently broadcast on student Radio Index during the student and anti-war protests in 1992.
The B-side features contemporary songs produced by Beograd, which reflect protests against the current societal conditions in post-war Belgrade. Crafted with musical clarity and irony, these tracks satirize figures of repression, hitting their mark with an almost childlike purity, reminiscent of Hans Christian Andersen’s fairy tale, “The Emperor’s New Clothes.” The collaboration between Dejan Stanisavljevic, the leader of the Beograd and the Du Du A group not only influenced his musical expression but also laid the groundwork for the group’s socially engaged music in their later career.
As we remember the two late leaders of the Du Du A group, Dejan Kostic and Zoran Zagorcic, alongside the recently departed member of the Beograd, Milan Bubalo, this gramophone record stands as an important testament to the contributions of previous generations of artists in the fight for a fairer society. We hope it will inspire the younger generation in their current struggles, especially at a time when such inspiration is needed more than ever.
DJ Support: Sam Don, Severino Panzetta (Horse Meat Disco), Chris Howler, Sean Johnston, Bill Brewster, For Mankind, Craig Thompson, Andy Taylor, Massimiliano Pagliara, Dean Dixon, Nathan Detroit and many more
Underground Institution Stompa Phunk Re-Launches Vinyl Label with Raw, Chi-House-Inspired Energy. After three decades of defining the UK’s underground club landscape, legendary Brighton party collective Stompa Phunk is officially moving from the dancefloor to the wax with the relaunch of Stompa Phunk Records Inc.
The Heritage: From The Warehouse: The releases will directly honour the roots of house music, a genre born in 1977 at Chicago’s legendary nightclub, The Warehouse. As that scene matured, a grittier, faster, and more experimental counterpart emerged. Defined by an uninhibited, bass-heavy style, it was a movement driven by local innovators who pushed drum machines and synthesisers to their breaking point... It wasn't just a genre; it was a collision between pure imagination and raw machines. A true "sound klash" transformed the local underground subculture into something global...
Release 1: You Had It (Edit) / Music Got (Dub): Capturing the exact spirit of rough, tape-spliced dubbed cuts. The 12-inch from SP resident Sound Klash pairs a vintage production ethos with old hardware pushed to its limits...
The Philosophy: This EP perfectly mirrors the exact philosophy that has fueled Stompa Phunk’s dancefloors since 1996: uncompromising electronic music rooted in heavy sample-delia, jackin' bodies, Acid energy, disco-dub mentality and second-hand technology. Jackinacidiscotech!
What started as a private tool for Hifi Sean’s sets, slowly began circulating among a few close DJ friends he’d slipped copies to. Before long, the track was bubbling under the radar — then suddenly, it was buzzing! It began life as the ‘Amy Dub (012)’, strictly for the heads. But after a few people asked for a full vocal version, both mixes earned their place on this limited, vinyl only release. Each one was crafted directly from the original multi track tape stems. No AI shortcuts here — just pure, high fidelity class.
2026 has been the year of Deeparture as we have approached this milestone moment for the producer; quality releases from the Dutch artist have pathed the way to his debut album ‘City Reverie’.
‘City Reverie’ is all about Amsterdam – an album created, inspired and born in the great city. Deeparture finds home there but over the years it has been a place where his music has developed and grown into the stunning style he has created throughout this body of work. As an artist on Zerothree, he has been an important part of the label family and working on this album has really seen unique creative aspects, impressive themes and a work ethic that just inspires.
The album features collaborations alongside Lazarusman, Tim Morrison, Jantine, Yves La Rock and plenty of solo material that brings a retro proggy take on 2026 dance music. A real touch of genius and a great body of work that will be timeless.
he four tracks of his 2013-released „Feldspar“ EP see Romanian producer YVAT at the absolute peak of his sonic journey.
Roughly operating within the confines of IDM, Braindance, Phonk and Post-Dubstep YVAT serves a highly seductive sonic menu for advanced late night dancefloors with this one, amalgamating his signature backbone of highly detailed and well crunchy beats, shimmering harmonies and warmly caressing, comforting, all embracing low end goodness for those in the know. Criminally underrated and for the first time available to a global
audience.
Press quote:
„You used to dig Autechre but you think their best days are long gone as they've lost their bouncy beats vs. deep strings and nice little melodies path? Went off into deconstruction?
I'm totally with you here and that's why I love Yvats's recent "Feldspar EP" on the great Minor Label so much. The man named Octavian Justinian Uta - and which is better known to his parents under this name - brings back this special and long time missed twist again, serving the best Electronica 12" I've come across in ages. Limited to 200 copies in greymarbled vinyl and hardly available via regular distribution channels. Get your copy, now! “
baze.djunkiii / nitestylez.de / 04/2013
Never officially distributed before and available limited quantities only.
Limited edition of 200 copies. Grey-marbled vinyl pressing
Repress! Back by popular demand–VSR 001 is designed to take you to the outer reaches of where you need to go. Wiersma has created a world where with your eyes closed and head down, the dance-floor can transport you to the outer reaches of space and back again for another beautiful night with all your favorite people.
Vermilion Sun Records was started as a passion project in 2025 with a belief in the magic of physical media juxtaposed against the incursion of AI. The original release featured just 100 copies and utilized US-only distribution; it was sold out in less than 5 months. After being brought across the pond from Boston to Brussels by local DJ & tastemaker Rasaaq, it was subsequently shared, quickly gaining popularity on Discogs. This repress is a testament to Vermilion Sun’s core belief; that is meant to be shared and enjoyed by everyone, and there is magic in that ritual.
Wiersma is a cherished member of the electronic music scene in Boston/Cambridge, MA. A DJ, partygoer, and prolific producer, he has played many of the city’s favorite nights sharing bills with other local talent and setting the stage for international acts like Bradley Zero, Garrett David, and Cinthie. Tapping all of these channels brings forth a creativity where memories from nights in Boston and other global travel transform his unique productions. His release VSR 001 showcases this style, exploring the darker and proggier sides of the house universe while making sure to stay tethered to a reality with firm roots on the dancefloor. A1 begins with Once Around Vega where a cinematic opening draws you into groovy and spacey loops demanding you to move. Syntactic Roles churns more deeply, incorporating layered dystopian vocals, rolling basslines and light acidity that is sure to help you close your eyes and put your head down for a dance. The B side keeps the space station grooving with Transmission from L3, and closes out with Rules of Teleportation incorporating more vocals over chugging electro infused grooves.
Between 2024 and 2025, Tour-Maubourg launched his Ensemble live formation alongside saxophonist Ismael Ndir and drummer Fréjus Méa. Fresh from Panorama Studio in Brussels, they unveiled two EPs featuring live reworks and exclusive tracks, a project that has already gathered millions of streams and led the trio to perform in some of Europe's most exciting venues.
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
The project first appeared as an anonymous transmission: a folder sent through the network, containing music, instructions and a name - Transpac. No photograph. No biography. Just the request to use the name and let the music speak.
There have been several transmissions since. Still no interviews, no confirmed identity, no explanation of who - or what - is behind the name.
Some say Transpac is a person. Others insist it is a machine. A few believe it is simply a data packet that escaped the network and somehow learned how to make music.
The name itself offers a possible clue. TRANSPAC was once the name of a French public data network, launched in 1978 and built around X.25 packet switching - breaking information into packets and moving them across a network long before the Internet became what it is today.
Perhaps Transpac has been travelling ever since.
Packet Switching EP is the latest intercepted transmission: six packets of pure machine music, assembled somewhere between circuitry, communication protocols and whatever exists on the other side of the network.
Whilst the packets have been received, the sender remains unknown.
Synaptic Cliffs is particularly pleased to have brought Transpac into its network - a feat made possible, not least, by its principal operative, pdqb. Through communication channels inaccessible to ordinary Earthlings, pdqb was able to locate Transpac with remarkable ease and secure its transmission for the label.
The artwork, rendered in yellow and black and largely composed of binary code, echoes the visual language of the early machine age - a world of geometric systems, electronic signals and human beings beginning to communicate with machines. Created by the legendary Infamous Image Division.
ALOUD! is about breaking rules in order to create your own. It’s about speaking your truth unapologetically and not worrying about being judged for it. At its core, this album is meant to feel fun. There’s so much heaviness in the world right now, and sometimes people just need to dance, escape for a minute, and let themselves feel free. Honestly, I need that too.
With this project, I wanted to tap into a lighter side of myself. I wanted to make music that feels fun and accessible. This album is about letting go, being present, and allowing yourself to enjoy life without overthinking every move.
Don’t let anybody silence you or tell you who you’re supposed to be. Say what you want, move how you want, and dance your way through the hard times. Stay ALOUD. You’re allowed to live life on your own terms.
Existing between Moscow and Milan, Interchain is a group that has been a cornerstone in the Moscow scene through the years, appearing and disappearing as they see fit.
The duo now debuts on L.I.E.S. with their "In My Apartment" lp. This records steps into a world of total disjointed angular electronic no-wave madness, somewhere between Devo and Liasions Dangerous...sharp sequences, thumping dx basslines, freaked out, on the verge of snapping vocals and bugged out textures. This music pushes and pulls the listener around until something just goes off inside of you. These nine tracks are on the boiling point, absolute frantic no-wave energy that will rock the floor.
This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.
Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.
With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.
This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.
Erol Alkan returns to his vinyl Reworks series for ‘Part 6’ the first new pressing since 2017. A long-awaited addendum to a series that has previously encompassed artists including Daft Punk, Justice, Hot Chip and Tame Impala, Alkan delivers two club-friendly tracks from his own Phantasy Sound imprint, both previously only available digitally.
For a propulsive take on Josh Caffe’s emotionally defiant, warehouse-bound ‘You’, originally produced in collaboration with Quinn Whalley of Paranoid London, Alkan delves deep into a lifelong appreciation of Chicago house. Stripped, spacious and tough on the drums, Alkan keeps Caffe’s demands front and centre while riding out an irresistible bassline and conjuring a brooding, typically psychedelic atmosphere.
Flipping from minimal jack to maximal funk, Alkan pays a visit to the esoteric archives of Cowboy Rhythmbox, the partnership of much-loved London DJ Nathan Gregory Wilkins alongside pop-provocateur Richard X. ‘Rock Music’ arrives rescued from a dormant hard drive of demos, its frenetic collage of samples stitched back together and fully recharged for a circuit-frying electro workout by Alkan, operating here at full tilt for the dancefloor.
Fred Everything is on an impressive streak right now, having just released a solo retrospective album on 20:20 Vision and the much-lauded ‘8 Days’ collaboration album with Atjazz.
On this first release for Winding Road Records, Fred teams up with a fellow Montreal musician Teuteu to deliver the lush deep house of ‘Arrêt Infini’.
There are four interpretations of the track, each showcasing Fred’s crisp dancefloor-focused production and Teuteu’s keyboard mastery. From the cinematic punch of Part 1, and the deep uplifting groove of Part 2, to the blissed-out ambience of the Reprise, and the out-there dubbiness of ‘Rhythm & Bass’. All filled with warm chords, soaring strings, and squidgy basslines, but coming from a different angle.
Another jewel in Fred Everything’s expansive discography, and another choice Winding Road Records release.
Since the early 2010s, photographer and producer Izaak Schlossman has been surreptitiously using the Topdown Dialectic moniker to frame his most enigmatic and most psychedelic productions: faceless pure sound experiments that ogled dub and techno archetypes from somewhere far beyond the veil. This generous 2LP collection surveys over a decade of persistent activity, pulling together recently unearthed gear written between 2013 and 2016 (the same time period as the iconic Peak Oil trilogy) and muddling it with more contemporary material. It's a rare chance to fully comprehend the slow, measured evolution of the project: its genesis as a method to fractalize various bass music frequencies with suggestion rather than over-compression, and its ongoing advancement through sensitively finessed ASMR ambiance towards spangled neo-psychedelia.
So it's no surprise that the lengthy suite of five-minute snapshots was initially devised while Schlossman was preparing for his first ever Topdown Dialectic live appearance in 2025. A hazed early morning, open air performance that's still lodged in the memory banks of anyone who witnessed it, the set provided the narrative anchor for the album, blurring the past and present and reaching tentatively into the future - ideal material for audiences whose brains are fully plasticized. The tracks, while divided, sound as if they're breathing over and into one another; beats and phrases materialize and dissolve just for moments, leaving the mind to fill in the gaps with any available sonic material. What might reflect the bright neon light of acid house at first soon embodies the flicker of a candle over a desk of drum machines in a Midwestern basement, or the first blush of sunlight over a tiny campground as subwoofers creak in the distance.
It's music that asks the listener to be involved in the creation itself, projecting their own shapes on the negative space, their discreet fantasies on haunted stretches of near silence. Schlossman's identity was never the point, Topdown Dialectic was always a scrying stone intended to divine far more personal revelations.
"It's not the conclusion he hoped to reach but it's too loud to find an alternative so he'll just stay here for hours on end, yearning and meandering in place" 4 slabs of rather evocative techno music from a producer who doesn't live in Berlin at all, having decided to take some distance, generally speaking.
Naarm/Melbourne-born, now Berlin-based, Willem shows us the house side of his work. Techno-leaning grooves lay the foundation of the record, while leaving room for textures that drift into the realm where dub techno meets house.
On the B side, we hear the debut release from Naarm/Melbourne-based justjoe. His dreamy, pad-heavy productions round out the release perfectly, riding a line of tech house-inspired drums whilst holding a mood that taps into those deep, inward states.
Donkey Trax kicks things off for the new 482 Studio Jack imprint with the Understand House EP. Four tracks that know exactly what they’re doing: loopy, tooly, soulful, funky and made for long nights and those tunes that won’t leave your head. No extra fluff, just straight-up groove that keeps rolling. The vibe’s clearly rooted in Chicago, no forcing it. No big room stuff, no drama, just house for people who actually feel it. A bit rough around the edges, but still warm where it counts. Best played when the floor’s already locked in and nobody’s thinking about going home.
Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.
Label founder DJ Scientist tells the story of how the tracks were uncovered:
"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.
Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)
Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.
Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"
To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.
When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.
The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!
Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.
The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.
New EP from Polish label Kooky is a challenging and ambitious one. Jay Tripwire, Canada's finest DJ and producer, offers a solid set of 3 minimal (techno) tracks, crafted with a unique passion for detail, raw energy and dark soundscapes. Every track differs in intensity and dynamics, but all of them are a feast for the ears to demanding music lovers. If you are searching for the true beauty of minimal and want to escape from modern dance music that is unfortunately more and more generic these days, this release is just for you.
Another long-awaited vinyl shaped through time, pressure, and careful listening. On this record, Spinnski, Ian Oskadev, and CLGR each bring the maximum of their craft, pushing their sound until it holds up under the toughest real-world testing. Airy textures, rolling low-end, sharp rhythmic structure, and hypnotic elements come together into a sound that feels both controlled and alive. Every detail has been checked, adjusted, and refined with precision — not just for the studio, but for real systems. This is a record that translates everywhere, from small rooms to large dancefloors. VAM14 stands as another carefully built piece in the catalogue — balanced, warm, and fully functional. A release shaped with attention, experience, and respect for the sound.
Kashatskikh Studio Mastering
Design & Illustration by Kirill Kashatskikh
Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.
Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.
Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.
Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.
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