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REPRESS ALERT!: Dub techno dons Lempuyang are back with the first double LP from the revered JS Zeiter, an assured artist whose early 12"s merged Chain Reaction's energy with deepchord's immersive depth and made him a modern-day great. Since then, he has spent years refining his craft into a consistently exceptional and sought-after sound across various aliases. Context Collapse marks a significant new chapter with eight expertly designed sounds that offer dub for all occasions, from those zoned out early mornings after a long night at it to more airy and uplifting dreamers like 'Interplay' via cosy, cuddly and introspective gems such as the smooth and seductive 'Open'. JS Zeiter is a true craftsman, as this double pack shows once more

Rostøm, Tauceti and Kaiser go full pressure on Carne, four cuts of relentless, stripped-to-the-bone techno built for concrete floors and red-lined systems. No gimmicks, just drive, warped signals and brute force groove. Anothr World 02 is peak-time weaponry for the real heads.

The former International DeeJay Gigolo records artist Adriano Canzian & Vitell1 assault the “PLEASURE COPS” precinct with bouncing synth-line, dark 80’ies bass and clanging beats in this extravagant 6 tracker Italo-Ebm release for SB sublabel -Belligeranza currently dedicated to brutalize Italo-Disco. Call 911 for further details!

Das Beste Aus Hagen Redux is an icy transmission from the early circuitry of European minimalism. A revives the pulse of proto-electro with surgical precision—pure voltage, no excess. Cold synth lines snake through monochrome rhythms, delivering drama without decadence. It’s music for neon-lit silence and synthetic nostalgia, built from tape hiss, static tension, and analog dreams. Minimal synth stripped to the bone—resistant, elegant, and eternal. Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Ninja was a niche Italo disco project formed by Cristina Peri (vocalist, composer and producer) and Enzo Benetti (DJ and producer). Together they managed to compose and produce only a handful of tracks, three of which were released under the Ninja moniker. Their collaboration resulted in a highly distinctive synth-pop sound, marked by a rock-leaning drum approach with a strong, metal-sounding snare, and melodic lines that deliberately avoided obvious, immediate catchiness.

The unique and “super obscure Italo treasure” reissued by Vintage Pleasure Boutique, titled “Mad About Love,” carries an additional point of interest: Pier Michele Bozzetti, better known as Miko Mission, was also involved in the production. “Mad About Love” is a rare and collector-sought track that has never been reissued before. With this new vinyl release, Vintage Pleasure Boutique once again steps forward with an archival initiative, hoping to bring genuine excitement to underground Italo fans and collectors alike.

Achievement presents a vinyl edition combining selected originals from Wigbert's Momentum album with remixes from the Momentum Remixes series. The A-side features reworks by Cirkle, Linear System, and Red Rooms. The B-side includes Wigbert's originals Synapse Impulse and Pattern Cycle, alongside Linear System's Deep Version of Supercell. The release highlights the core material of Momentum in both its original and reinterpreted forms.

"For Toronto outsider pop auteur Saya Gray, music is a glittering mosaic of endless influences. Her debut album is akin to a sonic chimera; its limbs assembled from disparate, but complimentary musical organisms. Does she make pop? Folk? Rock? R&B? The moment you think you’ve got her pinned, she’s gone like a flash.
Gray’s often collage-like sonicspheres, blanketed with layers of riffs upon layers of electronic chatter, demonstrate the limitless potential of music as an art form.
Saya Gray has received support from Pitchfork, The Guardian, The Times, Colors, The New York Times, BBC Radio 1, BBC Radio 6, NTS, Fader and has recently recorded an incredible Tiny Desk session to be release around her new album. "

“An extremely dynamic and creative release — Roadhouse combines acoustic and electronic music with a strong balance to invoke the complexity and confusion of a growing planet earth.” - Delroy Edwards, 2021

“‘Supernatural XS' is more bombastic (than its predacessor, ‘Aladdin Sales’). Imagine if French prog-dogs Heldon grew up on a diet of Hip Hop and high fructose corn syrup, or a mid-point between early Blues Control and Foodman's blissful mutations of Footwork. This Southern Indiana self-identified producer shows no particular allegiance to any lineage and evokes a couple they potentially aren't even privy to. Like Footwork, this music feels new and unique without outwardly attempting to break new ground, or inheriting any technological innovation. While I’m stoked on new music every single goddamn day, Roadhouse makes me particularly excited for the future of creativity, even if the odds are against it. Contemporary "Fusion" at it's best!. Very, very recommended!” - Repressed Records

For SIDE B's fourth release, an EP by Portugal's own DJ Dextro is in line. Ultra efficient, fine tuned techno is put under a microscope by the international mainstay for this record. Using high pressure in the low-end and creative textures to decorate the tracks, Dextro solidifies his place as a mainstay with a biting performance on home turf. Balancing his uncompromising sound with mystical synth work, Dextro opens 'Lost Frame' with the title track. In this A1, he rolls straight into a tunnel with flashing percussion and lurking melodies far out in the stereo field. Dancefloor focused but with a hint of mysticism, 'Lost Frame' creates a captivating ambiance to introduce the project with promises of earworm groove. Quick to follow up, 'Disclosure Of Who We Are' sees more space between the elements, creating a whipping effect in the rhythm and rich in sound design. Synth stabs cut through a booming kick, creating urgency in an EP that was lacking none to begin with.

This spirit is maintained on the record's flip to the B side - this time with an added bit of funk and shuffle. 'Liberdade' throws a vicious synth sequence forward for peaktime use and sees Dextro define his space with concentrated transitions and booming percussive hits. Swinging along with the occasional vocal sample to emphasize the obscurity, the producer maintains his delivery of razor sharp focus in all of his elements. To conclude, 'Panoplia Abstracta' settles things with an ambient, even meditative fourth track. Staying insistent with his kick, Dextro lets go of the wheel to drift his record from the body to the mind with progressive arrangement and soothing textures to see off a whirlwind of an EP for SIDE B records. Words by Noah Hocker

LIMITED POSTER EDITION (inclusive stickers)

From the dark circuitry of the American underground, Signal 72 transmits a raw message through Zodiak Commune Records. Loosing The Station is not about losing control, it's about releasing it. Letting the system breathe, unhooking from order, and giving the machines room to speak in distortion and pulse.

The sound is intense and immersive: heavy electro rhythms, dense sub pressure, and acidic 303 lines that twist through the mix like voltage on the edge of overload. It's the friction between chaos and precision, mechanical yet human, destructive yet alive.

Each element feels driven by instinct and recorded in the moment. The result is a tense, physical energy that connects directly to the roots of underground electronics, the sound of resistance, transmission, and release.

Broken symmetry. Acid eternal.

A student of the Weatherall school of DJing, Asa Tate has showcased an astonishingly mature approach to production over the years that belies his age. You’d be forgiven for thinking these 4 tracks had been discovered from a dusty DAT tape, locked away in the vaults of a northern Italian club and rediscovered after 30 years....Listen more closely and you’ll notice the contemporary production flair and more recent influences that make this EP a perfect reinterpretation of the mid 90s house sound: sitting somewhere between dream house and Morales finest work under the red zone moniker.

The EP wastes no time in setting it’s intentions with the A1 Title Track, “Replica” - after a brief and floaty progressive house intro the refrain “ E-e-e-e-e-e-e-ECSTASY” echoes loudly over sampled vocals, euphorias piano chords, throbbing lead synths and a bouncy tech house bass line.

“89” is a sultry deep house cut featuring rising Spanish star, Dariam Coco on Vocals. It floats like a butterfly, but stings like a bee, as the soft chords are interrupted with huge drum fills deftly transforming an after party jam to a peak time moment.

We continue to “ Unknowns” - a masterclass in building tension and holding it - this track simmers with restrained intensity for almost 6 minutes. It’s trademark Asa Tate production at its most understated and classy. We round of the EP with the fittingly titled “Last Dance” , a wistful composition that brings us back down to earth slowly, safely and gently; always grooving but never pushing - this one is the soundtrack to the end of a long summer day and reaffirms Asa Tate’s claim to be a modern master of Deep House.

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

"Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.

Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.

A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.

Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris."

Luca Moplen’s reworks of the T-Connection classic “Do What You Wanna Do”!

The 9 minute plus vocal version combines the authentic pumping bass-line and slamming beats together with the characteristic T Connection percussion with the vocals of frontman Theo Coackley, while on the flipside Luca demonstrates his skills with a slightly shorter Dub-version, stripped from it’s vocals, cooked and re-edited to perfection.

X-IMG presents “SEARCHING HELL” the new album by industrial body music producer SARIN, this 12” full-length LP marks his first release in six years.

SARIN (aka Emad Dabiri) has spent the last years sharpening his teeth on numerous collaborations and dozens of remixes. His evolution and development is displayed in the Gesamtkunstwerk that is “SEARCHING HELL” a nine track cybernetic joyride into oblivion; featuring his distinct militant drumwork, heat-seeking bass lines and surgically interlaced sampling, augmented by deceptively serene atmospheric pads & bloodied vocals. All this composed and assembled with an array of analog, digital and software based weaponry. “SEARCHING HELL” seeks to find meaning in an increasingly meaningless & subjugated world while maintaining a subversive & defiant autonomy.

Comes with download code.

Burnski's Constant Black continues to be a platform for producers keen to explore a cosmic world of tech house and minimalism. There is certainly a spaced-out vibe to opener 'In The Knoe' from ADR, which is tough and punchy, with tight drums and crystalline lines all making for a funky vibe. 'Freedom' is a little deeper and more balmy for late-night intergalactic travel, then 'I Remember When' pumps the party with loopy bass and psychedelic swirls of colour. Dan Goul steps up on the flip with 'Method', which is a full-fat tech sound with warm synth smears and wiggling motifs that make your ass move, then 'Passing Thoughts' shuts down with a cruising groove and sense of astral adventure.

A collection of transfixing, storm-like compositions, "Drifts" draws you into its heightened sense of quiet, reveling in iridescent, tranquilized vapors - one part ambient Classical, one part Club-adjacent ambience.

Pitched, reduced, sampled and re-sampled, the album's glowing, elliptical abstractions - using piano, harp, strings & modular synthesizer - explore the emotional terrain between aftermath and renewal, blending the unstructured immediacy of improvisation with the elegant sculpture of composition.

"Drifts" represents for its maker a newfound interest in shadow and mystery, each track a shifting terrain, a collection of clues, a scene set in a larger story, the effect cumulative.

Featuring collaborations with Patrick Belaga, Marilu Donovan (LEYA), and Takuma Watanabe, the album's cinematic suite of impressionistic, ambient works invites the listener into a vast, mapless space of dreamlike non-linearity where interior and exterior landscapes bristle with intimacy and electricity.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

The third release on Midnight Fashion Chill gracefully continues the label’s elegant, soul-soothing direction, this time through the warm voice of Jaidene Veda. The original Across The World stands as a true gem: a silky, gently flowing composition where soft, understated drums and delicate piano lines create an intimate, contemplative atmosphere. The From P60 rework tightens things up a little, adding a touch more groove while preserving the track’s airiness and emotional subtlety.

The next on is Kai Alcé’s remix. The Atlanta based producer injects the track with his signature classic-house energy: deeper basslines, dancefloor-ready rhythms, and an overall sophistication that makes the remix both driving and refined. This is the version guaranteed to move the crowd — vibrant, stylish, and tailormade for late-night club moments. The three faces of Across The World show just how far a well-crafted vocal track can be stretched. Midnight Fashion Chill’s latest release manages to be both relaxing and dance-inducing — exactly the kind of balance that makes this series worth following.