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2026 Repress

One of the all-time greats in electronic music, Uwe Schmidt-better known as Atom TM-joins the Sonic Groove roster with his latest masterpiece, "Exotrax". A true visionary, Uwe's discography is legendary, and this new release is no exception. It's a slickly reduced, hypnotic four-track journey in industrialized techno, showcasing his signature style-minimal, powerful, and intensely immersive. "Exotrax" which adds another brilliant chapter to his already remarkable legacy. Don't miss this one.

First ever official reissue of the 1992 digital heater ‘Slow Down’ by Villette Holmes. Produced by the late Cedrica Anthony Hamilton, better known as Soljie, this release captures a master at work.

A veteran engineer at the iconic Channel One Recording Studio, Soljie’s innovative approach at the mixing desk made him a giant of the reggae and dancehall scenes. He was the sonic architect behind many hits of the era, notably serving as the mixing engineer for Shabba Ranks’ seminal Grammy winning albums As Raw As Ever and Xtra Naked. In 1990, he launched his eponymous label, Soljie Records, which became a vehicle for his own distinct productions.

‘Slow Down’ is a quintessential Digi Dub production, balancing a heavy, driving rhythm with strong melodic hooks and a dreamy crossover feel that transcends the genre. Licensed from Soljie’s son, Chioke Hamilton, this reissue comprises the original version and Dub, alongside a previously unreleased Extended version.

Pressed on 140g vinyl and housed in a striking 3mm spine, full colour disco sleeve designed by Bradley Pinkerton.

Vortex 1 marks the next chapter in the DUB Recordings / Repetitive Rhythm Research series on Clone Records. Aleksi Perala dives deep into his unique sonic universe - unleashing a powerful collection of advanced rhythms. Precision-crafted patterns spiral into a mesmerizing vortex of sound, pulling you into new dimensions of rhythmic exploration. A signature experience from one of electronic musicâ??s most singular and prolific producers, known for the unique Colundi tuning system and a sound that has continually pushed musical boundaries since his early releases on Rephlex. Powerful tools for adventurous DJs and devoted braindancers alike. Clone Exclusive *Limited edition on Silver/Black and Gold/Black Marbled vinyl*

Since last year's EP “rhyme09,” a quiet storm has been brewing around the label. This release is not only long overdue, but Vienna is also home to numerous new talents as DJs and producers. The label boss makes the selection here and kicks off this release with a completely crazy track that is unlike anything else out there. There is virtually nothing else like it, making this track unique with its bassline, offset kick drum, and acid grooves. The second tune on the A Side comes from Fabiano Jose’, a well-known DJ in Vienna who, with his brand “Merkwürdig” has been an important player in the local party scene for several years. A catchy tech house tune, “step in” if you can!

The first tune on the B Side is a collaboration between ZentaSkai, well known for his label MASK Berlin, and Thomas Grün, also a long-time DJ and producer in Vienna who releases house and tech house tunes also on his own label “Untitled100 records”.

With Manu Script on B2, we have a debut here. With his great taste as a DJ and producer, he delivers a powerful groove. Another true Party stepper! Be ready...

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

2026 Repress

SPEICHER-Ikone und gefeierte Clubmacht KÖLSCH debütiert auf KOMPAKT mit dem Album '1977', einer außergewöhnlichen Sammlung von elektronischen Juwelen, die seine frühen Meisterwerke mit exklusivem neuen Material verzahnt. Hier finden Monument, Irrsinn & Biss unter einem gemeinsamen, kennerhaft austarierten Groove zusammen und bereichern die Erlebniswelten von
Heimtänzern wie Flurhunden... dein neuer bester Freund ist da und es ist eine Platte.

Tatsache: trotz des Namens und unserer wohldokumentierten Vorliebe für Kölner Bier ist KÖLSCH kein Rheinländer und er hat sich auch nicht nach dem Lokalbräu benannt. Selbst weltweit hoch gehandelte Hits und eine Reihe profilträchtiger Live-Auftritte scheinen allerdings nichts daran zu ändern, daß der preisgekrönte dänische Produzent Rune Reilly Kölsch regelmäßig konfuse Fragen nach dem eigenen Namen weggrätschen muß. Und doch könnte er nicht deutlicher werden: man denke an etablierte Flurfavoriten wie OPA, DER ALTE oder SILBERPFEIL... diese Tracktitel beziehen sich samt und sonders auf Runes Erinnerungen an eine Kindheit in Deutschland. Anders gesagt: ja, der heißt wirklich so.

'1977' ist nicht einfach nur entseeltes 'Best Of'-Gemenge: mit brandneuen Eisen wie BASSHUND, BAPPEDECKEL und EISWINTER im Feuer braucht KÖLSCH sich nun wirklich keine Gedanken über die zukünftige Wirkgeschichte seines Werks zu machen. Und dann ist da eine Rillenzirze wie OMA, hoch emotionaler Konterpart zum leicht sardonischen OPA und in jeder Hinsicht ebenso mitreissend wie die kanonische Überballade ALL THAT MATTERS. Für das große Finale schließlich wendet sich Rune an LORELEY, das bestimmende Initialrelease des Projekts und bis heute ein massiver Kracher von eigenem Recht - in der Tat so gewaltig, daß der Schock von gleich zwei weiteren Tracks gepuffert werden muss, dem dramatischen WASSERSCHUTZ und einem trojanischen Pferd namens FELIX. Letzteres sollte ja eigentlich eine Art Outro für das Album sein... doch dann hat jemand den Knopf gedrückt und das transdimensionale Portal erwachte zum Leben.

Vintage Pleasure Boutique once again dives deep into the vast catalogue of super-productions by Roberto Zanetti, better known as Robyx and Savage. This time, the journey takes us back to 1984, unearthing a true gem created at the suggestion of Marco Bresciani, Italian DJ and producer, and the same creative force involved with Radiorama. Zanetti delivered flawlessly. He transformed the elegant, high-grade British synth-pop original by OMD into a first-class Italo disco weapon, infused with that unmistakable sweet, melodic touch and fat kick that blended perfectly in clubs alongside genre-defining tracks of the era. “Souvenir” by Saxophone quickly became a classic, a staple of the sound and a cornerstone in countless old-school DJ record bags.

Today, original copies are scarce, highly sought after, and often prohibitively expensive on the secondary market. This reissue is both a tribute to long-time fans of the record and a nod to devotees of Robyx’s unmistakable sound. The vinyl also features a special remix of “Souvenir”, sonically aligned with Savage classics such as “Radio,” “Fugitive,” “Only You,” and “Don’t Cry Tonight.”

A true feast for lovers of this timeless Italo disco aesthetic, equal parts nostalgia, elegance and dancefloor power.

"Wilson Records proudly presents the new LP by Fabio Monesi, an artist known for his uncompromising analog approach and his ability to merge heritage with innovation. This latest work draws from a rich palette of influences--new wave atmospheres, raw electronic structures, and the unmistakable pulse of Chicago house while projecting a distinctly future-facing vision. Crafted entirely through hardware sessions, the album showcases Monesi's deep command of analog equipment and his instinct for blending grit with elegance. On You Are The One For Me, Fabio lends his own voice, adding a personal touch that shapes the emotional core of the record. A profound and reflective body of work, the LP explores themes of self-awareness, resilience, and inner transformation. Based on a true story."

Honest John was a significant Knoxville, Tennessee DJ and record store owner who released a few 45s on his own label in the 1960s.

Skyjoose and Johnnie Clark set out to push the boundaries of UK Garage and 2-Step, crafting a sound that was raw, souldful, and ahead of its time. The project became known as The Stalker – a name that would quietly echo through the underground. Though countless tracks emerged from those sessions, only two saw the light of day on the original Stalker EP released in the year 2000.

Now, 25 years later, The Stalker returns from the depths of the DAT archives – remastered, reawakened, and ready to move dancefloors once again. This special repress features the two original vocal mixes from the Stalker EP, plus four additional club weapons forged in those same legendary sessions – three of which have never been released…until now.

DJ Support: Adam Auburn, DJ Nova, Norm De Plume (Delusions Of Grandeur), Guy Perryman, Simon 'Palmskin' Richmond, Rocco Rodamaal, Damian Lazarus, Demarkus Lewis, Douglas Arellanes, Craig Smith (Yoruba Affil), Lay-Far, Dr. StrangeDub, Dennis Ruyer, Kono Vidovic, Roberto Rodriguez, Bill Brewster, Chris Read, Richard Earnshaw, Hot Toddy, Handson Family, Dj Pope, Robbie Akbal, Golf Clap, Marques Wyatt, Kiko Navarro, Mr Beatnick, Jamie Jones - Hot Creations, Marcia DaVinyl MC, Mikael Ikalainen/ Dj Lord Fatty, Ian Friday, Mr V, Mathieu Schreyer, Willie Graff, Makossa, Stuart Knight, Timo Maas, Bruce Tantum, Sean Brosnan (Futuredisco), DJ Harri, Vinny Da Vinci, Trevor McNamee, Roger Sanchez, and Dom Servini

PDD are excited to welcome the return of the legendary Winding Road Records. Originally launched in 2002 by Schmoov! and home to releases by cult artists such as Ron Basejam, Hot Toddy, both of Crazy P fame as well Vincenzo, Rhythm Plate, Spirit Catcher and not to mention Lovebirds and their monster hit, I Want You In My Soul. After a hiatus, the label is back with a bang and teaming up once again with Lovebirds for another classic EP.

yellow & green mixed coloured vinyl 2026 Repress

Previous releases on aufnahme+wiedergabe, Fleisch Records, Minimal Wave Records imprint Cititrax and n-PLEX have been frequently played by acclaimed DJs (Phase Fatale, Randomer, VTSS, Amelie Lens, Regis, Helena Hauff, SPFDJ, Veronica Vasicka, Silent Servant to name a few).

Schwefelgelb is a Techno duo from Berlin, known for their raw but precise and cutting productions. Their reputation for a strikingly energetic live show brought them into clubs and festivals around the globe.

After launching their own label n-PLEX and releasing two original EPs on it, NPLX003 marks a re-release of their most successful record "Dahinter Das Gesicht" ("Behind It The Face"), which was released on aufnahme+wiedergabe in 2017 primarily. After 1500 sold out copies it still remains highly demanded as one of the most influential records for actual EBM-Industrial-influenced Techno. This re-issue comes in a special edition of remastered track versions and also includes an edit of its most notorious track "Es Zieht Mich" as addition to the four original tracks.




c B1 Es Zieht Mich GP2 edit

Riotvan opens 2026 pulsating with drama in the form of a sad Valentine and a special collaboration: Hard Ton, joined by New York City icon Amy Douglas. “How am I going to fill the hours now?” It’s an emotion we’ve all known; and one we all dread, the raw burning haunting ache, when left alone with ourselves after loss. Hard Ton and Amy take us on a soul scorching journey through hollowed out earlymorning emotions, set to a raw, early-2000s house energy—somewhere between Berlin and New York, without drifting into nostalgia. Adding a layer of raw intimacy is a stripped-back piano interpretation shaped by Hard Ton together with maestro Matteo Baroni, whose freestyle takes became the emotional backbone of this version. From there, the release branches out: Massimiliano Pagliara stretches the original into a deep, slow-burning piece of late-night elegance, while Sylvio B flips the energy entirely, firing it back onto the floor with bold grooves and big-room confidence.

We proudly present Sidequests Trilogy, a special triple vinyl release from Session Victim that brings together the previously released Sidequests Chapters 1, 2 and 3 in one beautifully curated edition. It’s a journey through the duo’s deeper impulses and dancefloor instincts alike—rich, soulful, and unmistakably Session Victim. Sidequests Trilogy is available now on Delusions Of Grandeur as a limited triple vinyl LP on Olive Green Vinyl.

SAMOH unleashes his new dancefloor weapon, four-track EP ‘Changing Worlds’, out on February 26th, as his debut on Charlotte de Witte’s prestigious KNTXT imprint.

Charlotte de Witte: ‘I have been playing SAMOH’s tracks for quite some time now and I am very happy to welcome him to KNTXT. His acid, techno and trance driven approach to music fits my lane perfectly. There is an energy in his work that feels raw, focused and completely unapologetic. This release in particular has that acidic drive that I love so much. This is powerful club material and I cannot wait to see where it will go.’

Rotterdam’s producer, DJ & live artist SAMOH responds, ‘Releasing this as my first record on KNTXT is an amazing opportunity, and I feel honoured to be able to share my music with so many people and let this sound travel further worldwide.’

‘Changing Worlds’ EP: from the title track’s rampant beat, rattling drums, acid-saturated main theme with euphoric edge, and portentous vocal (‘reality peels away...’) to ‘We Are All Waveforms’ with its psytrancey, insanely acidic builds to banshee pitch over shutter & hiss FX at which point you are indeed ‘entering a non-linear dimension’, you are then a willing victim for ‘Reality Is Gone’ to hammer-drill into the brain and take command of your feet. Final piece ‘Echoes Of Tomorrow’ starts with dystopian chattering percussion and spacey FX, before luring you into a healing euphoric dreamstate with moonstruck, melodic trancey sweetly soaring singing.

’Changing Worlds’ represents my approach to acid techno/trance in its most direct and energetic form.’ SAMOH says.‘I made this EP with three high energy tracks, followed by a more atmospheric closing piece that brings everything together. It’s about a driving motion and intensity, creating moments where dancers can disconnect from everything else and fully give themselves to the music.’

You have been warned. You may as well succumb to acid as voracious as Venusian cloudforms, techno beats galloping over your inhibitions, and trance as bewitching as absinthe for the ears. You’ll be glad you did.

Marking his return to Mind Against’s HABITAT imprint, German DJ/producer Sam Shure steps forward with ‘Best Of Me’ - a sophisticated four-tracker that reflects his continued evolution as a producer and performer. Known for fusing adventurous electronic design with melody-driven storytelling, Shure’s latest EP captures both the energy of the dancefloor and the introspective moods that define his sound.

Title track ‘Best Of Me’ opens with warmth and precision, balancing vivid melodies with propulsive rhythm and infectious vocals to form an emotionally charged journey. ‘CV Winds’ dives deeper into hypnotic territory, layering fluid percussion and enveloping synths in a piece built for late-night connection. On the B-side, ‘The Vibe’ sees Shure link with Turkish pairing Drumstone for a magnetic collaboration, a heady, trippy, and earworming dive into both artists’ sonic worlds. Closing with ‘Together’, the EP’s finale brings a sense of unity and release, blending tension and release with intricate grooves to round out the journey.

Having begun his musical journey under the guidance of his father, the Egyptian jazz musician Basem Darwisch, Sam Shure has evolved into an artist renowned for his expressive and forward-thinking sonic approach. Following releases on TAU, Cercle Records, and Magnifik, ‘Best Of Me’ reaffirms Shure’s reputation as a unique voice within the modern electronic landscape, making him a perfect fit for HABITAT’s expanding vision.

One of the industry’s rising stars, Ariane V is known for her widespread knowledge of music and an ability to weave together different subgenres of House in her DJ sets. Her “Safe Travels” EP represents a sampling of the tracks on her forthcoming compilation on Nervous Records, and spotlights a crew of highly talented producers who are part of the community who are keeping the House Music genre fresh and current.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

Bobby and Martin Boer started experimenting with music in a small bedroom in their parental house in an apartment building on the 4th floor.
The brothers brought together rapper Da Smooth Baron MC and singer Peggy “The Duchess” to form their stage act. The first single “Can’t Help Myself” was released in 1990 and became an international hit in 1991.
multiple international hits were produced as 2 Brothers on the 4th Floor. Gradually changing the style from Eurodance into happy hardcore.
Singles like “Fly (Through the Starry Night)”, “Come Take My Hand” and “Fairytales” were international bestsellers and topped charts all over Europe.
The Very Best Of 2 Brothers On The 4th Floor is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl and includes an insert.

Mastery, London’s pioneering sound studio, has spent its first two years creating live experiences and installations exploring sound as a gateway to altered states. Now, with co-founders LWE, Mastery enters recorded music with Quantum Sound, a first-of-its-kind project combining sound meditation, breathwork, neuroscience and ambient electronic composition. Announced in December in collaboration with Houndstooth, the album builds on Mastery’s ongoing exploration of sound as both meditation and live electronic music, first introduced through immersive performances by Cherub Sanson, Tim Wheater and Daniel Avery.

Released on 12th February, Quantum Sound positions sound as a psychedelic catalyst, designed for eyes-closed listening. The multi-artist album spans ambient and transcendental spaces, featuring Jon Hopkins, Hannah Holland, Wata Igarashi, Manami, Jennifer Loveless, Silent Shadow and Alessandro Cortini. It also includes a continuous 60-minute mix by Hannah Holland, alongside a 15-minute sound meditation by Cherub Sanson and Tim Wheater with electronic composer Rommek. Following Djrum’s Come Find Me, Ruthlss'’ Dark Angel is out today. Ruthlss is a live electronic artist, composer and producer building a singular musical universe where club culture, classical virtuosity and emotional
storytelling collide. At the centre of the project is a fully authored live show - written, produced and performed entirely by Ruth - that treats electronic music with the emotional and structural depth of film scores and symphonic works, while retaining the physical impact and communal release of the dancefloor.

2026 Translucent Turquoise Repress

Brooklyn-based BlackCat Records continues its deep analog journey with Sonder, a refined dub techno statement by Argentinian producer Volpe.
Known for his warm sound design and subtle rhythmic detail, Volpe builds four immersive cuts around drifting dub chords, spatial depth, and slow-burning groove.
Instead of pushing for impact, Sonder explores atmosphere, patience, and emotional resonance, techno reduced to its purest and most timeless form.

Collecting Orders For 2026 Repress

It's safe to say that Mark E is something of a master when it comes to doing a hell of a lot, with not very much at all.
Back in 2011 'Call Me' was heard everywhere, especially the splendid Dixon edit, which teased out the drama and made the most of that spoken Ms Ross vocal.

It's testimony to the staying power of this track, and the fact it's quite rightly regarded as a Deep House classic that it's had a recent revival, largely from Luke Unabomber across his head-spinning summer tour schedule. We started getting video clips from the curious..."Do you know this track, sounds like Carl Craig remixing 51 Days ?"

Given that we sold out the initial run in a matter of days back then, we thought it was high time we put the call in for a reload.
So here you go, the classic 'Call Me' backed with a truly wonderful new jam from Mark, which is another zinger in a catalogue choc full of 'em...

Limited obi strip edition, exclusively in our store!

To celebrate the 10th anniversary of Salty Nuts, label head Fabe returns with his first EP of 2026.

The record captures the unmistakable signature of the label: groove-driven drum work, punchy basslines, and razor-sharp sample chops, all coming together to form the infectious sound Salty Nuts is known for.

Across four carefully crafted club tracks, Fabe delivers music designed to work at any moment on the dance floor. Each cut carries peak-time energy while remaining versatile enough to set the tone in early hours or drive the floor deep into the morning.

“Alle Sorgenti Delle Civiltà Vol. 3 - Africa, Australia, Nuova Zelanda” (1971) is the third and final chapter of a triptych of folk-based sound recordings released by Folkmusic. The album contains a total of fourteen tracks by Braen and Raskovich, i.e. the a formidable multi-instrumentalists Alessandro Alessandroni and Giuliano Sorgini, each grappling with seven different compositions characterised by a tribal mood. Among the grooves of this record, repressed on vinyl for the first time by Musica Per Immagini, it is possible to discern an in-depth study of one of those forms of popular culture referring to a specific geographic area, comprising the types of traditions often handed down orally and concerning knowledge, beliefs, fairy tales, legends, myths, narratives linked to the dimension of the fantastic, customs and traditions, namely music. Festivals and propitiatory rites, fights and dances, magical and sacred representations were all expressions of life whose sound and rhythm contributed to an appropriate description of the environment. Alessandro Alessandroni and Giuliano Sorgini have chosen some of the most significant musical characters that even belong to specific ethnic realities scattered across two distant continents, where the use of some of the typical instruments has favoured the realisation of sonorities of considerable interest.

For over two decades, FLOX has been shaping a unique musical
identity - a vibrant blend of roots reggae, dub, electro, and
nu-soul. This French-British artist h a s become a cornerstone of
the alternative scene, known for his genre-bending productions
and powerful live performances. With seven studio albums and
countless shows a c r o s s Europe, FLOX h a s carved out a distinc-
tive path, merging analog warmth with digital precision.
crédits

Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.

“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass

The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”

Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa

As he’s been known to do, Caserta takes something old and flips it on its head—or, in this case, its rear. He gives arguably the biggest crossover pop hit of the new millennium the MFSB/Larry Levan treatment on the A-side, while giving the DJ Sneak/Armand T.L.C. on the flip.

Vitamin Of The Moon launches as the new label and artistic platform of Toulouse-born, Berlin-based producer Lenny Mailleau, also known as one half of Zendid. The Question marks both its inaugural statement and Lenny’s first release under the new imprint. It is a focused, groove-driven record that moves between house, dub, techno, minimal, and space-disco. The tracks are delivered with quiet confidence, sophistication, and clear dancefloor intent.

The opener, “The Question,” establishes a taut, hypnotic framework. It features crisp 707 drums, syncopated movement, disco-tinged basslines, and a subtle, paranoid tension that relentlessly draws the floor in. “Saturday Déboch” stretches the energy further. It is built for late-night or early-morning moments when time dissolves into rhythm, using dub-inflected textures, highly detailed spatial echoes, and a patient, locomotive four-to-the-floor drive. On the flip, “Schönleinstrasse Caval” sharpens the architecture with stripped-back techno percussion and a rolling, functional pulse, clearly shaped by Mailleau’s time on Berlin floors. Closing the EP, “La Femme” (ft. Ariachi) adds a warmer, more playful and emotive layer by weaving vocal fragments and melodic accents around a minimal-tech core.

With The Question, Lenny Mailleau introduces Vitamin Of The Moon through restraint and clarity — positioning it as an extension of his personal language and refined club sensibility. A first chapter that honours minimalism’s roots while quietly pushing it forward, proving once more that focus, rhythm and atmosphere remain central to imagining contemporary club music.

2026 Repress

The ill behaviour touches down for the first time. Unknown to all, yet known to many. Combining both the old and new, with amens and the lot like you've most probably heard before.

The third release on Pan Records comes from BRS (British Rhythm Services), a UK deep house production collective active since 2000. They first appeared on the Parisian label Cyclo Records and quickly followed up with releases on Imperial Dub (San Francisco) and Leeds-based 20/20 Vision.

Throughout the 2000s, BRS — originally formed by Ben Vacara, Robert Evans and Mr. Mulatto — built a strong reputation for quality deep house. In 2001 they launched their own imprint, Friends & Families, while their music also appeared on major labels and compilations including Café del Mar, Ministry of Sound, Paper Recordings, Peng, Late Night Tales and React.

Over the years the project evolved, with core members Ben Vacara (also known as Frank Situation) and Mr. Mulatto continuing at the forefront, joined by musicians such as Dom Thompson, Phil “Dr. Keys” Campbell and James Payne. In 2019, BRS saw a new wave of reissues and fresh material on Cyclo, Wolf Music, Pressed For Time and their own label, Situationism.

Still active as producers and DJs, BRS have now been shaping UK deep house for over 25 years.

“We know what jazz is when we hear standards or music that is close to the same source, to a recognized pattern. But what is jazz? Here, a starting point. "Blow" showcases an accumulated CITIZEN:KANE techno vocabulary but it quickly tones down the sensation by introducing frequent breaks in the rhythm, as in "Peiote". But even there we are able to "feel" techno by recalling Wolfgang Voigt's M:I:5 and its parallel yet contrasting rhythmic grids. Elsewhere, manifestations of opposite forces: the beat keeps a body firm on the floor, eminently physical but not commanding; and melodies, cosmic threads, suggest ascension as well as a drive towards the within, creating space for feelings and/or rationalization. "The Fence" or "Montreal" stand as good examples. One less evident aspect of beauty in this record is the apparent coldness of the music, almost rigid and devoid of passion, and thus we declare it more true. As the mind performs a synthesis of what was learned after a class, last track "Family" (expressively) gathers impressions of what went before, adding poetry to the moment. "Blow" may be a reference to the most familiar instruments used in jazz but it can also figuratively mean an explosion, an aesthetic liberation, even with (our) knowledge that for now, and theoretically, the artist chose to concentrate on this thing called jazz.”

Released in 1973 on Motown’s label, Share My Love is a richly layered and deeply expressive record that captures Gloria Jones at a creative crossroads. After years working behind the scenes as a songwriter and session vocalist, penning material for The Tams, The Marvellettes, and others, Jones finally takes center stage with a collection that radiates confidence, vulnerability, and undeniable soul.
Known to many for her original 1964 version of “Tainted Love,” later immortalized by Soft Cell, Jones brought to Share My Love a seasoned understanding of both the heartbreak and hope that lie at the core of great soul music.
More than just a product of its time, Share My Love feels like a declaration, a turning point where one of soul’s great, often-overlooked voices stepped into her own light. It remains a moving document of artistic self-assurance and one of the most heartfelt releases to emerge from Motown’s early ’70s era.

A decade ago, Taylor Swift was already a world-renowned and dominant force in the pop world. In 2014, she was on a world tour that took in a stop at Tokyo Saitama Arena on June 1st and the recording of it captures the electrifying energy of her sold-out performance during the iconic "Red" world tour. This live album showcases Swift at her early peak and delivering heartfelt ballads and powerful pop anthems with her signature charm and stage presence. Fan favourites resonate with emotion and live energy, while quieter moments like 'All Too Well' highlight her storytelling prowess. The Saitama Arena crowd adds to the magic throughout.

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

Following his incendiary debut, Ingo Hammer delivers four devilishly great burners on Industrial Lies.

This time, his satanic majesty drops the sleazy, pulsating ‘Kneejerk’ and ‘Insane’, rewires body music with the robotic ‘Chinois’ before riding the D train to hell and back on the breakin’ ‘New York’.

Each one is a guaranteed dance floor 'hammer'.

DJ support for ‘Hammer Time’ came from I-f; Intergalactic Gary, Legowelt, Marcel Dettmann and Sunil Sharpe.

Limited edition of 100 vinyl copies.
Written & Produced by Ingo Hammer
Mastering by Tom Haunstein (Rand Muzik)
Artwork by Jonny Costello (Adult Art Club)

Industrial Lies
Industrial Lies is the offshoot label of Dublin house and techno imprint in First Cut.
Established in 2023, the label is named after the B-side of Cybotron’s electro classic ‘Clear’.
Industrial Lies shines a light on left-of-centre music from the past and present, including proto-Chicago house, ebm/industrial, electro and adjacent sounds.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

Bézier ripples their way back to Dark Entries with Decompose, an LP of doomed spa music. Multi-instrumentalist Robert Yang has made numerous appearances on Dark Entries for more than a decade, with releases spanning the stylistic gamut from hi-NRG disco floor-fillers to lush ambient epics. Decompose, Bézier’s second LP, is perhaps his most introspective work yet. It is an album almost ten years in the making, a deep investigation of life, loss, and the struggle of knowing oneself. If one were to pull a tarot deck for this album it would be the Nine of Swords. The album honors the lives of the fallen victims of Pulse Nightclub. It honors lives lost or suffering through the ongoing genocide in Gaza. The title track takes the form of a Buddhist chant, a brooding synth-driven meditation that scales steadily until breaking into John Carpenter-esque arpeggios halfway through. Tracks like “Egg,” “Marionette,” and “A Fading Citadel Atop Black Sand Bluffs” build on this soundworld, one in which intricate melodies and cavernous reverb induce in the listener feelings of both claustrophobia and free-fall. The album’s dancefloor-leaning moments, like “Codebreaking” and “Split a Path Towards the Thicket” are spartan, tunnel-vision techno tracks speeding towards ego-death. Decompose chronicles Yang’s journey to find peace with himself, as a gay Asian American. During this process, they learned to “repot” long-lost parts of their identity so they could grow forth in wholesome fashion. The sleeve for Decompose was designed by Eloise Shir-Juen Leigh, and features a photograph by Frankie Casillo of Robert laying on a bed of rocks in savasana pose, resembling an ascetic, evocative of the monastic vibes of the record.

Chicago legend K. Alexi returns to Dark Entries with K.A. Posse’s Strkes Again, an EP of preleased unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn’s personal archive. This record showcases the rawer, more immediate side of Shelby’s sound, with tracks full of overdriven 808’s, careening sirens, and dangerously funky breakbeats. “Imported Taste” brings Shelby’s signature deep pads to the front of wild congo-laced percussion. “Suckas Be Ready” is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking “Muzic Box.” Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh.