Suche:l a gear

Der Mittlere Westen, insbesondere der Teil, aus dem Eric D. Johnson stammt, ist eine weitgehend flache Weite. Wenn man auf der Autobahn hindurchbraust, sieht man Städte und Ortschaften in der Ferne aufragen, doch wenn man blinzelt, verpasst man andere von Menschenhand geschaffene Gegenstücke zum Leben in der Ebene, die die Landschaft prägen: Hügel um Hügel, erbaut aus den Abfällen der Vergangenheit: Mülldeponien. Einige dieser Hügel eignen sich hervorragend als Schlittenhügel, Parks und Wanderwege. Andere verwandeln organische Abfälle in Kompost. ,The Landfill" ist etwas ganz anderes: ein Berg, der die Landschaft in Johnsons Herzen dominiert. Im Laufe seiner mittlerweile 25-jährigen Karriere unter dem Namen Fruit Bats war der Großteil von Eric D. Johnsons Schaffen das Ergebnis von Geduld und Feinschliff. Seine Songs sind, um einen Ausdruck zu verwenden, Langzeitprojekte, die auf Alben zum Leben erweckt werden, welche lange Zeiträume und Erinnerungen umfassen. "Baby Man" änderte das - er verbot sich, auf Material zurückzugreifen, an dem er vor der Aufnahme des Albums gearbeitet hatte. Es war sowohl ein atemberaubendes Dokument von Johnsons Können als Singer-Songwriter als auch ein ungeschönter Bericht über die zwei Wochen, in denen er das Album aufnahm. "Diese Session war vorbei", erklärt er, "aber es gab noch viel mehr zu erkunden. Mir gefiel die Unmittelbarkeit davon, und ich wollte sehen, wie sich das auf ein Fruit-Bats-Album mit voller Bandbesetzung übertragen lassen würde." Innerhalb weniger Wochen war er wieder im Studio, diesmal mit seiner Band: David Dawda (Bass), Josh Mease (Gitarren, Synthesizer), Frank LoCrasto (Klavier, Synthesizer) und Kosta Galanopoulos (Schlagzeug). Wenn man sich "The Landfill" anhört, stellt man fest: Diese Band rockt. Johnson produzierte die ersten Aufnahmesessions in den Bear Creek Studios in Washington und machte sich daran , "den Sound dieser Band einzufangen, die mich immer wieder in Staunen versetzt - das Gefühl, in einem Raum mit Musikern zu sein, die man liebt und denen man genug vertraut, um sie einfach machen zu lassen." Sie nahmen das meiste davon in einem Durchgang auf - ohne Click-Tracks, ohne zusammengestellte Gesangsparts und mit minimalen Overdubs, wobei der häufige Mitwirkende Thom Monahan zurückkehrte, um zusätzliche Produktionsarbeit zu leisten und den finalen Mix von ,The Landfill" zu erstellen. "So machen wir es auch mit meiner anderen Band, Bonny Light Horseman, und ich war neugierig, wie es bei den Fruit Bats funktionieren würde", bemerkt Johnson. "Es ist sowohl ein sehr persönliches Album als auch mein bisher kollaborativstes." Es ist zudem das live-orientierteste Album der Fruit Bats seit "The Ruminant Band" aus dem Jahr 2009, und durch die Reduzierung der Spuren, die einen Song einer kompletten Band normalerweise ausmachen, ist die psychedelische, technicolorartige Verträumtheit ihres Sounds lebendiger denn je. Die Songs auf "The Landfill" zeichnen sich sofort als einige der besten in Eric D. Johnsons Werk aus, Suchende und Hymnen gleichermaßen. Es ist der bisher gewaltigste Gipfel, den er erklommen hat.

Der Mittlere Westen, insbesondere der Teil, aus dem Eric D. Johnson stammt, ist eine weitgehend flache Weite. Wenn man auf der Autobahn hindurchbraust, sieht man Städte und Ortschaften in der Ferne aufragen, doch wenn man blinzelt, verpasst man andere von Menschenhand geschaffene Gegenstücke zum Leben in der Ebene, die die Landschaft prägen: Hügel um Hügel, erbaut aus den Abfällen der Vergangenheit: Mülldeponien. Einige dieser Hügel eignen sich hervorragend als Schlittenhügel, Parks und Wanderwege. Andere verwandeln organische Abfälle in Kompost. ,The Landfill" ist etwas ganz anderes: ein Berg, der die Landschaft in Johnsons Herzen dominiert. Im Laufe seiner mittlerweile 25-jährigen Karriere unter dem Namen Fruit Bats war der Großteil von Eric D. Johnsons Schaffen das Ergebnis von Geduld und Feinschliff. Seine Songs sind, um einen Ausdruck zu verwenden, Langzeitprojekte, die auf Alben zum Leben erweckt werden, welche lange Zeiträume und Erinnerungen umfassen. "Baby Man" änderte das - er verbot sich, auf Material zurückzugreifen, an dem er vor der Aufnahme des Albums gearbeitet hatte. Es war sowohl ein atemberaubendes Dokument von Johnsons Können als Singer-Songwriter als auch ein ungeschönter Bericht über die zwei Wochen, in denen er das Album aufnahm. "Diese Session war vorbei", erklärt er, "aber es gab noch viel mehr zu erkunden. Mir gefiel die Unmittelbarkeit davon, und ich wollte sehen, wie sich das auf ein Fruit-Bats-Album mit voller Bandbesetzung übertragen lassen würde." Innerhalb weniger Wochen war er wieder im Studio, diesmal mit seiner Band: David Dawda (Bass), Josh Mease (Gitarren, Synthesizer), Frank LoCrasto (Klavier, Synthesizer) und Kosta Galanopoulos (Schlagzeug). Wenn man sich "The Landfill" anhört, stellt man fest: Diese Band rockt. Johnson produzierte die ersten Aufnahmesessions in den Bear Creek Studios in Washington und machte sich daran , "den Sound dieser Band einzufangen, die mich immer wieder in Staunen versetzt - das Gefühl, in einem Raum mit Musikern zu sein, die man liebt und denen man genug vertraut, um sie einfach machen zu lassen." Sie nahmen das meiste davon in einem Durchgang auf - ohne Click-Tracks, ohne zusammengestellte Gesangsparts und mit minimalen Overdubs, wobei der häufige Mitwirkende Thom Monahan zurückkehrte, um zusätzliche Produktionsarbeit zu leisten und den finalen Mix von ,The Landfill" zu erstellen. "So machen wir es auch mit meiner anderen Band, Bonny Light Horseman, und ich war neugierig, wie es bei den Fruit Bats funktionieren würde", bemerkt Johnson. "Es ist sowohl ein sehr persönliches Album als auch mein bisher kollaborativstes." Es ist zudem das live-orientierteste Album der Fruit Bats seit "The Ruminant Band" aus dem Jahr 2009, und durch die Reduzierung der Spuren, die einen Song einer kompletten Band normalerweise ausmachen, ist die psychedelische, technicolorartige Verträumtheit ihres Sounds lebendiger denn je. Die Songs auf "The Landfill" zeichnen sich sofort als einige der besten in Eric D. Johnsons Werk aus, Suchende und Hymnen gleichermaßen. Es ist der bisher gewaltigste Gipfel, den er erklommen hat.

NYC's Afro-Latin house player Doug Gomez, who was also half of the defunct Drrtyhaz, leans into club weight and musical detail on Signals 3, a confident new drop built on persuasive rhythms. 'The Space Between Us' introduces his vocal production with Fe Malefiz, who has a sultry, stylised tone that drifts between deep house and Afro-soul with great control. 'The Red Room' shifts gears into peak-time territory with a groove shaped by late-night exchanges with DJ Loka. Closing cut 'To Do Good Na Em Dem Pay' widens the palette further, pulling from Afrobeat's restless rhythmic energy and layering in some bold and brassy horns.

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

Natural Goofy & TC80, two close friends and respected producers, have been spending time together in the studio in Barcelona.

No rules, no timeline, just jamming with machines and letting the sound flow in the moment.

The result is NO PLAN EP: a snapshot of instinct over intent, a record shaped by presence rather than plans. A raw dialogue between friends, gear and the dancefloor.

Made with love, for the music.

Released as a limited vinyl-only edition within the Planka Records series, continuing the label’s mission of capturing underground sounds and sharing them with those who listen deep.

London's PRESTi lands on Shall Not Fade's Time is Now imprint with four dancefloor weapons that feel like they forked from the hardcore continuum at the point El-B, Horsepower and Artwork's dark garage was becoming proto dubstep.

EP title Track 'As We Move' is everything that is special about that time; bassweight, space and rudeboy swing. On "Big Ting" PRESTi reaches for more classic UKG groove but fuses it with yet more spacious wobbling low end precision. "Baile Pulse" pivots... channeling in grimey pulse basslines and 4/4 baile funk techno this time. "Get Back" is just the fait accompli for a producer clearly enjoying such fertile ground, a peak time speed garage warper ready to cause damage at any function.

Essential dancefloor gear from a producer growing tall and widening the cracks.

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

Stonie Blue and Stephen Carmona come from house music's true school and combine here for a set of timeless, tough, but emotive jams steeped in Midwest magic. 'Joyful Noise' is a playful tease that rides mid-tempo kicks but is buzzing with little synth details that want you to go faster. 'Embrace The Night' is moody, smoky late-night house swing, 'Max Potential' has analogue drums coated in dust with plenty of room left for the sparse chords to make an impact way beyond their minimal design. 'Stone' ramps up a gear with more dense grooves and 'About Time' is all about pinging kicks and fuzzy pads as conscious spoken words bring the mental heat.

2026 Repress

Finally repressed. Excitement reverberates through the underground music scene as the legendary DJ Sneak gears up for his latest sonic exploration, the "Galactic Funk EP," set to drop on the iconic Phonogramme Records. This four-track masterpiece showcases Sneak's unparalleled ability to blend classic house vibes with cutting-edge techno elements, delivering a dancefloor experience like no other.This EP comes in a distinctive yellow vinyl, a bold choice that mirrors the vibrant energy encapsulated within the tracks.

A heavyweight classic! 'Don't Laugh' is one of those records, you know you've heard it, you may not who, what or where, but you know it!

The original Winx mix is a classic, often imitated, never bettered, but the real gem here is Richie Hawtin's manic, almost borderline sinister 15+ minute reworking.

Monster doesn't do it justice, tweaked out, narcotic, minimalist jacking gear. A dope combination of severe LOW end and some bracing sine waves that cut straight through. This one will surely test any club sound-system, if the venue is built for it you will know! This is one for the real heads, pure late night business oft overlooked for the more famous A-side, but trust us - Hawtin's mix will smash any dance! Oh, and there's an insane laughing acappella for those who want to mix and blend! Reissued, remastered and re-sorted for 2017 by Above Board Records with the full involvement of Nervous Records NYC.

Ed Nine hails from the birthplace of house and brings plenty of Windy City magic to this EP on Spanish label MATE. It's deliciously emotive tackle drenched in meaningful pads and, in the case of opener 'Feel It In Your Soul', an aching vocal sample that really sets it alight as the organic drums jack down low. 'Free Acid' is a stomping workout with prickly 303 lines defining the peak time vibe, then 'Out Of Line' cuts back into a more sunny sound with synths rising up through the mix and bringing joy. Closer 'The Drum Tool 3' is just that - a raw jam to help you get the floor locked in while moving through the gears.

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

Absolutely killer 11 track double pack of raw techno missiles from Bari, Italy's hero, DJ Plant Texture. Ultimate club gear that will do total damage anytime, anywhere. No nonsense, committed to the art of music..no false idol worship...just blistering cuts made to mix and send em' into a frenzy. Big tip!

Vohkinne is the alter-ego of Craig McWhinney, close associate and one of Southern Light’s foundation artists. The Way Of All Things is his first album in six years and provides a dystopian sonic journey into contemporary and modern techno that few artists can match.

Internal Collapse is an opening statement of intent; drone-infused and heavily cloaked dark ambient techno. Falling Knife is a chilling half step creation, providing a sense of murky sonics raining down from above. Unearthly Lights shifts gears as it traverses a more linear and magnetic path, while Disintegration diverts again with darker, squelching breaks.

C h r o m e s t h e s i a slows down the tempo but the morose and opaque feel of the album remains ever present, before War Paint is unleashed with a sense of urgency and high-octane intensity. Between Lives continues that intensity by unleashing its dark hypnotic breaks, before closing with the title track, perhaps for the first time on the album revealing a ray of hope amongst the dystopian energy that prevails on the album.

The Way Of All Things is more than a collection of tracks; it’s a look inside one artist’s view of the world, distilled into a singular and expansive archetype body of work.

Following the last blend of four timeless cuts compiled into TRIX002 (2023), Party Tricks returns with a new VA that maps the outer edges of UK breaks and garage on the A-side, and a US-tinged psychedelic journey on the B-side.

Stitched with fleeting lines from The Usual Suspects (“The greatest trick the devil ever pulled…”), A1 Trick or Treat - Trip To The Dark Side dives into the darker shades of the UKG spectrum, setting the opening tone with a mysterious heavy stepper.Continuing down this road, Sheethanger – Discostep flips the energy with a dubby, and irresistibly groovy breakbeat workout, complete with spicy vocoders and a kinetic drive engineered to lift every dancer off the floor.

On the B-side, the focus shifts toward the psychedelic zone of the US niche. A Terran Collective - Mercury Uno rolls out in low gear under acidic, foggy tension, gradually accelerating as it climbs toward a hazy, hypnotic eruption.Finally, Earth Trance Interlude - Moonshine delivers an after-hours breaks masterpiece - the right anthem to close the record on a bright and uplifting-melodic-tribal note.

2026 Repress

Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith’s control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn’t until he put everything he’d been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it’s ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".

Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.