quête:kick s

Kultiger Track: Explosive Afro-Funk-Version von ,I Bet You Look Good On The Dancefloor" von den Arctic Monkeys.

Alt Dub boss Federsen once again joins forces with cv313 and Echospace Detroit to deliver a second instalment in their ‘Altering Dimension’ series, once again merging hazy textural sonics with delicate dub leaning aesthetics.

Detroit’s dub techno lineage continues to evolve as cv313, Stephen Hitchell of Echospace, teams up with Federsen for Altering Dimensions Part Two, another collaborative EP set to land on Federsen’s Alt Dub imprint.

A defining figure in the genre, cv313 has long shaped its language through seminal works like Seconds to Forever and the Dimensional Space LP, fusing enveloping atmospheres with tactile rhythmic structures. Alongside him here,

Federsen whose music can also be found on Echospace Detroit as well as Grayscale, Synchrophone, Lempuyang and Avant Roots, has carved out a distinct voice rooted in precision and analogue-rich depth. Altering Dimensions Part Two again captures the intersection of these two perspectives, linking Detroit’s enduring sonic heritage with a refined, forward-facing approach to dub techno.

‘First Dimension’ opens the release, laying down heavy doses of sub bass, bubbling percussion and ever evolving, murky dub echoes amidst a crisp, stripped-down rhythm section.

‘Second Dimension’ follows and leans into vacillating atmospherics, a swaying bottom end groove and hypnotic, subtle evolution that’s synonymous with the cv313 sound.

‘Third Dimension’ kicks off the b-side next, further embracing this introspective and immersive style as textural elements shift and mutate atop intricately modulating percussive hits, bubbling synth tones and weighty low-end percussion.

‘Fourth Dimension’ then concludes the release, reducing things down to bare bones of hypntic dub, embracing a beatless construction the composition relies on spatial depth, nuanced delays and an underlying tension that decays

Dr. Silberman makes a welcome return to Atom Trance Force and kicks things off in 2026 with his EP 'Welcome To The Future'. Two mixes of the title track are included: The fast paced original and the trance mix. The original is a serious ode to the late 90s Hamburg hard trance sound, and you can hear the influence of labels like EDM, Tunnel & Spaceflower. For the trance mix, he brings the tempo back down to 140 and moves more towards older Positiva energy. Rounding off the EP is Friends & Enemies, keeping the energy high but the quality to match.

From Atom - we thank you for your continued trust, and bigups to those supporting this release:

1995 Trance Sessions, Adam (Last Of The Mohicans) [Apple FM], Adam Bellew [Global Hard House Radio], Angie (FR), Busho, Choci, Digital Devil, Dimitri Kechagias, DJ Brisk [Stimulant DJs], DJs Present, Evolving Suns Audio [Cohesion / The Attic], Giuseppe Ottaviani, J.O.E [Tomorrows World], Jake Ayres, Jake Grace [TranceUnite / FCM Live], Jake Nicholls [Uprising], Loki [Terminal Trax], Louk / Hidden Identity, Mat Phat & Fugee Show [Newport City Radio], Mind Control [Noise Pollution], Mindflux, Paul Nineham [Brisk], Pete Morton [Harderfaster], Remnis, Renegade System, Rennz [Distorted Dreams], Rightsound [Dancesation / Timewarp], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Spektral Noise, Suzy Solar, Tjerk Coers

Jack’s House Recordings kick starts 2026 with a brand new VA featuring talent from all corners of the globe, with artists coming from Portugal, to Australia, the USA and Ibiza !

First up is Alex Arnout with “Baby Let You Know” which is another solid production giving punchy and techy energy with a baseline that will wake you right up when it drops in ! It’s dark, edgy, and has a powerful signature sound that is perfect for the big dance floors as well as your underground intimate ones. Alex is no stranger to the imprint, having been the first artist signed to the label which is about to celebrate it’s 10th year as an independent record label.

Next up, we welcome back popular and talented producer Carlo Gambino with “Time Of Need” which takes you through 6 and a half minutes of a lovely gritty underground groove, and vocal snippets of the track title throughout the arrangement with his warm and unmistakable signature sound.

Then we have AMO (um) & Mills with the more minimal track of the VA, “Therapy” This is a stripped back track but instantly memorable after just one listen. Driven by a simple kick, snare, haunting fills and a riding dark baseline, the track also presents a conversation between two Women having a slightly confusing conversation in a therapy session.

Last up, it is a pleasure to introduce and welcome USA’s Jordan Bernardo & Sharktooth from the Tasteless Thieves crew to the label with their excellent collaboration on the track “So Sorry” This is the light on the VA with this massively uplifting infectious groove. The track is giving skippy swinging beats, filtered vocals which tease in and out of the arrangement, and a great energy that takes you back to the early 2000’s era.

In a nut shell, this fresh Jacks Tracks VA offers 4 unique tracks that can serve any DJ at various points of the night, from warming up, a hands up moment, 3am pushing energy, and a perfect afterparty vibe too. That is always the aim with the Jacks Track VA series, to give vinyl buyers a bit of everything while maintaining talent and the nature of the underground.

Time for more tracks from around that different corner! The EP kicks off with Reel Des Jumelles, some kind of hommage to accordion dance music that moves with a steady forward leaning house beat, winding staircase melodies and some well-paced tom fills. Arrak is more of a slow, howling midnight creeper. The B-side consists of two cuts from Anders’s live repertoire, meaning deep modular bass n’bleeps, dubby chords and some drum box autorhytm presets (merengue, salsa…) thrown in for good measure. Includes digital download code, and the digital version comes with two fabulous remixes by HEROES. Alexi Delano and Daniel ”Fagge” Fagerström! Edition of 100, mastered by Andrea Merlini.

StandUP Records returns with its second release, welcoming a respected name Konerytmi with the 1999 EP.

Across five tracks, Konerytmi pulls listeners straight into the golden era of 80s electronic music. Steering clear of formulaic kicks and basslines, the EP embraces eerie nostalgia, raw textures, and dim-lit atmospheres, the elements that defined the genre’s earliest identity. It’s a deep dive into the past, capturing the authentic sound, spirit, and experimental edge of early electronic music.

Rockets Audio presents a new fantastic release by Alex Arnout & Matheiu!
Highly recommended!

2026 Repress

Glaskin is the alias of two brothers, Jonathan and Ferdinand, based in Munich. The pair have emerged as key figures in the citys electronic music scene as longtime residents of the renowned Blitz Club, standing out a homegrown talents amongst its vibrant electronic landscape. Bringing a unique, forward-thinking techno style, as evidenced by their contributions to Mutual Rytms Federation Of Rytm II and III compilations in previous years, they now mark a new chapter and open 2025 in style with their debut 12 on the label, Inertia Of Motion. Each cut on the EP has been handcrafted with analogue gear, reflecting their distinctive artistic and sonic vision. The release is a direct outcome of the creative process behind their live set, which has become an integral part of the duos identity and shows a natural evolution of their singular sound.

Hush Up kicks things off with deep, rubbery and rolling techno rhythms. The drums are stripped back and laced with pulsing synth patterns and spoken word snippets that add a freaky edge. Double Tap ups the anti with classic, pumping deep techno with smart filters adding movement to the track as urgent leads hurry onwards. Inertia bring a more anxious atmosphere with tightly coiled drums and perc and eerie bell sounds ring out over the fat, twisted bassline. The brilliant Tank brings mind-melting loopy techno with dubby chords and textured leads warming their way between the beats to great effect, while Motion is suspenseful techno that locks you into a high speed groove peppered with thumping hits and kicks. Last of all, digital bonus Blushed Blue explores a moody, minimal, late night techno sound that is warm, stylish and hypnotic to close the show

Warehouse Find!

Introducing Red D, the Belgian DJ and producer, one half of FCL (alongside San Soda), long standing club promoter (since 1992), owner of We Play House and general all round good guy. With releases on Ferrispark and Delusions Of Grandeur (with MCDE), remixes on Eskimo, regular sets at the likes of Panorama Bar and an RA Mix under his belt you could say things are falling into place nicely. On top of all this his FCL project continues to go from strength to strength with a new
EP dropping soon on Kai 'KZR' Alce's highly regarded NDATL label. When he sent over two originals for Freerange it was love at first listen as the simple, warm beats and emotive chord stabs of title track Chez oozed from the speakers. This sounded to me like house music in it's purest form, from the days when the focus was on a feeling rather than complex sounds or technological
trickery. And the proof is in the pudding with this one as you can feel the dance floor go into some kind of collective bubble of love whenever you play it. The second original follows drawing you into a false sense of security with familiar 707 beats and gentle pads before taking a left turn. Appropriately titled Into Darkness the blissful vibes of the intro begin to fall away as the
track reaches a breakdown and we're treated to the rudest of Chi-Town basslines taking us down a somewhat less wholesome path. Flipping over we're treated to two Jacob Korn remixes, one of each of the originals and if the A side is the good cop, we can trust the Uncanny Valley regular to deliver some pure badness on the flip. His Remix of Chez is clearly inspired by his studio hardware as you can hear the improvised and 'live'
sounding arrangement, the machines taking on a life of their own as things twist and turn in a spontaneous and unpredictable way. A rattling white noise pulse drives the rhythm whilst bubbling synths add some lightness to the pummeling
kick. Into Darkness gets the Korn treatment next and here he puts it right through the sonic mangler, tape saturation distorting the mix to within an inch of it's life. Jacob puts the focus on the bassline of the original, keeping things simple at
first before winding in layers of Juno chords and the bleepiest of synth lines resulting in the finest of raw, bassment house jams.

Beat Machine Records is proud to drop the sixteenth chapter of its iconic Swinging Flavors series, starring Newcastle’s own Nectax — a breakbeat alchemist pushing jungle and D&B into jagged, unpredictable territory — backed with a remix from forward-thinking bass manipulator Fracture.

Cool Runnings is exactly that: a hypnotic, mid-nineties-tinged jungle cut stripped back and dubbed out, but sharpened with modern production techniques that give every snare and sub-bass a punchy, alive quality. Razor-sharp breaks collide with rolling basslines, weaving a track that’s at once nostalgic and fully of-the-moment.

The B-side flips the energy with Fracture’s remix, injecting fractured percussion, jagged fills, and high-octane bass tweaks. It’s a modern take that preserves the original’s laidback groove while kicking it into full-blown club chaos. Together, the two tracks form a high-voltage 7” that bridges classic jungle aesthetics with contemporary sonic experimentation. “Cool Runnings is my take on a laidback mid-nineties tipped Jungle track. Stripped back, dubbed out, but with a subtle focus on modern production techniques to tie it all together,” says the artist.

Following recent Swinging Flavors contributors like Ac1d Vicious, DJ Sofa, and Ornette Hawkins, Nectax marks the next evolution for the series: tense, textured, and unafraid to push the floor into new territory.
The release continues Beat Machine Records’ mission to highlight forward-thinking club music rooted in underground culture, with a sharp focus on physical formats and hybrid rhythms.

Dutch titan Orlando Voorn plunges into deeper waters for his Lost Control 2097 debut. The opener ''Vibrations'' hits like a hazy '90s hip-hop daydream, wrapped in the glow of soulful deep house. ''Summer Breeze'' is strictly for the heads--pour up the gin and juice, kick back, and let the world melt for a minute. If you're hunting for that golden first strike, ''Purpose Pursuit'' cruises in with a boogie-soaked groove that feels like flipping through dusty dance-floor memories. And to top it off, label chief Black Eyes, the Prince of Hydro himself, delivers a remix that sinks you into a warm, tape-scarred drift.

Pick a Piper is a Toronto-based electronica duo featuring Caribou drummer Brad Weber and vocalist–songwriter Sophia Alexandra. Their music pairs catchy, ethereal vocals with warm synths, upbeat percussion, and a distinctive sense of sound design that feels both grounded and vulnerable.
The duo’s live show is an intoxicating blend of vibrant physicality and immersive lights and visuals, creating an experience that is both danceable and hypnotic. Pulsing with momentum, vocally driven and haunting, it radiates a charisma that unites the band and audience in cathartic release.
Their new album "Dandelion", explores how we exist in the space between opposing feelings while calling for resilience and the courage to recognize that growth is possible and inherently beautiful, even in life’s most difficult experiences. The record employs skippy beats, bass-heavy kicks, warm subs, hyperactive percussion, woozy synths and organic textures, delivered with a lovingly human-curated feel.
Pick a Piper has toured across Europe, the US, Canada, Guatemala, and Colombia, and has shared the bill with Bonobo, Gold Panda, Blue Hawaii, Do Make Say Think and Ghetto Kumbe.

Kenshi Yonezu’s cinematic new chapter comes to life on vinyl.

This special single features Kenshi Yonezu’s latest hit IRIS OUT, the evocative theme from CHAINSAW MAN – THE MOVIE: REZE ARC, Top 5 of the Billboard Global 200 charted song,

becoming the highest-ever charting position for a Japanese language song, alongside JANE DOE, a powerful collaboration with J-pop icon Hikaru Utada. Blending Yonezu’s inventive

production with Utada’s signature vocals, the track marks a landmark meeting of two of Japan’s most visionary artists.

The release also includes Yonezu’s global platinum hit KICK BACK, together with fresh remixes by Frost Children and 2 more, each reimagining the song through a distinctive creative lens.

Pressed on single black 45 RPM vinyl, IRIS OUT/JANE DOE is housed in a sleek single-pocket jacket with a fold-out 12”x24” insert including an Illustration by Kenshi Yonezu, making it a

must-have for collectors and fans of Kenshi Yonezu’s bold, genre-defying sound.

Getting back to simple things, Homemade EP is an allegory of a DIY mentality in an era filled with complexity and uncertainty.

The A-side leans into early-2000s electro and house, with tight drums and functional grooves.
"Rue des Loubards" (A1) kicks off as a groovy cut, filled with mysterious chords and sensual French vocals, layered with tight, driving drums. "Dreams" (A2) follows as an electro piece with aggressive synth riffs and cinematic vocals.

The B-side drifts toward a late-80s palette, with warmer tones and nostalgic feelings. "Godspeed" (B1) cleverly mixes Italo and new beat elements for a chiaroscuro effect. "Antwerp" (B2) closes the EP with a true journey, starting with trancey textures and skillfully drifting toward a synthpop conclusion.

"Paul's Beats & Jams (Faith Beat's evil sibling edits label) is back after a 3 year break. The Earl delivers 2 versions of "With Love". Recognize those signature kick / no kick skippy beats? That's because you're listening to Scottish techno royalty."

REPRESS ALERT! Long out of press and with copies regularly changing hands for close to £100 on the second-hand market, Air Miles are proud to present a limited repress of their inaugural release, “An Ode To Midnight EP’ by Jeigo.

The tone is set from the off with the eponymously named first track of the release ‘an Ode to midnight’. The tracks mellow break beat feel is met by warm rushing pads, ebbing and flowing between textures of the night before last.

Floor focussed, zero fussing ‘Wing Systems’ carries the front side at an orbital trajectory. No time for an intro, the drums jolt you into alertness, the wobbly bass perfectly counterpointed by gated, washing keys.

‘Lime Hawk’, melancholic euphoria brings the release back to the conscious. It’s structure toy-fully crescendos and builds, all while the Balearic synth peaks with the sub line keeping you grounded throughout.

Rounding off the record is ‘By My Side’ meandering the record into slightly darker territories. The shifting keys wash over, the siren call vocals penetrate and the thudding kick punches through, anchoring the track as an emotionally driven, cerebral affair.

2026 Repress

Lars Huismann returns to Mutual Rytm as he delivers the second instalment of his "Sounds From The Past" trilogy on the label.

As SHDW & Obscure Shape's Mutual Rytm imprint continues to grow, it's clear that the DJ and producer pairing have a strong vision for the label and are building an equally impressive roster of artists to form the imprint's core family members. One of the early standouts is Lars Huismann, who arrived to deliver a selection of impactful offerings influenced by the "golden years" of techno in his own unique style crafted by various production techniques. Having featured on the label's opening VA and delivered the first EP for MR002, racking up a wealth of global support in the process, mid-November welcomes a return for the Berlin-based talent as he serves up six fresh cuts in his signature sound for "Sounds From The Past II".

Opener "Sounds From The Past II" is an action-packed title cut fusing typically slick rolling grooves with hazy melodies and atmospheric releases of tension, while "Propulsion" takes cues from its title and sees precise drum shots, echoed background vocals and a tunnelling groove taking the track right into the thick of the action.

On the flip, B1 "Loucura" brings a percussive workout as frantic organic drums and resonant brass melodies bring a party
to proceedings, with "Stroke" and "Nudge" both armed with tough kicks, zipping synths and more subtle vocal work.

Digital buyers get an extra exclusive in the form of "Dub Division", welcoming a slightly more subdued but equally as impactful track guided by dubby chords and peppy hi-hats to close the show.

On Lila, his debut LP, Moroccan artist Karim presents a series of undulating electronic rhythms laser-etched into tessellated form: drumless techno from the pre-Sahara, built for communal psychic expansion.

Drumless, yes, but not percussionless. There are shakers, castanets, stabs, plonks, thuds. There are insistent basslines propelling forward, pulsing with energy, rippling in time. There are tones interlocking, rolling, fluttering, pattering. Dancing within, around, between each other. Considered in terms of sheer geometry, Lila is a techno record, unmistakably. But it sounds quite unlike any other techno record you've heard lately.

To write the album, Karim borrowed from the music of the Gnawa, a religious-spiritual musical tradition descended from West African peoples brought to Morocco as slaves hundreds of years ago. Now integrated deeply into Moroccan culture, the centerpiece of Gnawa music is the lila—or "night," in Arabic—an all-night-long ritual of rhythm designed to induce participants and musicians alike into a healing trance state. Which, if you're a dedicated raver, may sound familiar, yes?

Crafted entirely with modular synthesizers, Lila conjures a range of textures and moods. The show opens with "Bakh," a blissful exercise in beatlessness, clear and crystalline. On "Philipoussis," "Kiyex," and "Sonic," arpeggiated synths approximate Gnawa chants while interlaid percussion keeps time in multiple meters. "La" and "Kille" pulse in half-time, ideal for creative mixing. "Joul à lèvre" bristles with electricity, the sound of a charged lightning rod. "Pamil," woozy and lurching, feels like being shipwrecked on a forgotten island. Last and absolutely certainly not least, on the final track, "Miloir," Karim faces West and unleashes the album's only kick drum for a ten-minute psychedelic techno masterpiece. The mind warps; the body moves. 

Lila is released on Tikita, Karim's own record label, founded in 2014. Tikita's discography, spare but tightly curated, features artists from across the globe pushing outwards into techno's deepest reaches. Karim's album pushes even farther. Listen for yourself.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Water Sign is the debut EP from producer and instrumentalist John Silas: a five-track suite that moves fluidly between peak-time dance and inward reflection. Deeply aligned with the open-eared ethos of NYC’s Love Injection Records, the release channels house and jazz into an emotive personal chronicle shaped by movement, memory, and community.

At its thematic center is “Boundaries,” a dynamically arranged dance-floor meditation that begins with piano, 4/4 kick and restless hi-hats before blooming into radiant synth work reminiscent of classic disco auteur Patrick Adams. Midway, the track shifts—electric piano, whistles and percussion reframing the groove into what Silas calls “hues of vulnerability.” The result mirrors the arc of love, release and renewal.“Cyber Dreams” leans into lush escapism, buoyed by surging keys and impassioned flute from Domenica Fossati, while a remix from Detroit mainstay Patrice Scott (Sistrum Records) adds unmistakable Motor City weight. “Foster Child” nods to Silas’ hero, the late Paul Johnson with exuberant Chicago spirit, and “Nasty” delivers a concise workout featuring Marquinn Mason’s robust saxophone.

Water Sign reflects Silas’s trajectory—from a childhood steeped in Soul Train, coming of age with hip hop, to MPC craftsmanship, his Detroit musical family and present-day Brooklyn—into a deeply personal record equally suited to discerning DJs and deep listeners.