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Mad Corporation launches its first vinyl release with Mad Corporation Series Vol. 1, a Various Artists EP introducing the label's vision through four original cuts.
Built for the dancefloor, MCS001 explores different moments of a DJ set, from deeper and hypnotic grooves to more driving club energy, while staying true to the label's underground identity.
Featuring original productions by Lucien & Catriel, Posada & Das Man, Misla & Jose Vera and DJOAN, the release brings together artists under a shared vision of timeless electronic music..

8bit continues it’s vinyl series with Nick Curly the label honcho besides Gorge with a 4 tracker that captures his trademark blend of driving house grooves and refined club energy.

Tripper returns for the imprint's third outing with another pair of 45 RPM cuts.
Both jams take shape from stripped-back 909 patterns before being summed through a
vintage analog mixer, keeping the grit, warmth and swing firmly intact.
Expect raw '90s house aesthetics, evolving and progressive synth lines, warm pads and
finely carved filters and LFOs.
The A side delivers a wide rolling groove, while the flip takes a sharper, more hard-hitting
approach. Two club-ready shakers, each with its own distinct character, keeping the
pressure on and preserving the label’s signature.

By 2005, Drugsex Recordings had firmly established its own identity within the Tech House scene, providing a platform for deeper, sounds for the heads and also could further push the peak-time cuts for the era. For the label's fourth release, founder Rob Pearson teamed up with Chris Pascoe. Pascoe’s distinctive style had already earned him recognition through a string of acclaimed underground releases and Rob & Chris kept meeting through the underground party scene so friendship and collaboration were a natural step.

The collaboration resulted in One More Time, a beautifully balanced meeting of two production styles. Combining Pearson's trademark rolling grooves with Pascoe's musicality and deep, understated funk, the track perfectly captures the stripped-back sound that defined the best of mid-2000s UK Tech House.

On the flip, Rob Pearson takes centre stage with the solo production Shadow Maker. Deep, hypnotic and effortlessly understated, the track showcases the signature South London sound that became synonymous with both Evasive and Drugsex Recordings—tight percussion, warm analogue textures and an irresistible groove built for long nights on discerning dancefloors.

By 2005, the Rob & Si partnership had found its stride. Working from Online Studios in Croydon, South London, Rob Pearson and Simon Copleston (Iteration X) continued to refine their unmistakable take on underground Tech House, combining deep rolling grooves with crisp percussion and slick production skills.

Originally released as EVA015, Just Add Water was pressed as a limited white label release during a period of distributor changes, meaning it never received a full release at the time. As a result, original copies have become highly sought after by collectors over the years, regularly changing hands for premium prices whenever they surface on the second-hand market.

The EP features the unmistakable Original Mix, alongside an alternative interpretation from each producer, with the Iteration X Remix and Rob Pearson Remix offering their own distinctive twists while staying true to the stripped-back, rolling sound that defined the era.

More than twenty years on, Just Add Water remains one of the hidden gems from the early Evasive catalogue and a snapshot of London's underground Tech House movement at its most authentic.

A rare white label reissue of one of the most sought after original tech house albums! Featuring the original main tracks, previously never reissued on vinyl as well as the Smart Alex release on Surreal. Limited first pressing - please pre order in advance to reserve your copy.

Mexico's Rubinskee mixes up slapping house and techno on some of Europe's finest labels and has done so since 2011. His latest is an understated outing that veers into deep, melodic realms where warm textures meet precise machine-driven grooves, and it is inspired by solitary weekends in Sao Paulo. Opener 'Half Meal' rolls effortlessly, while 'Sigueme' brings a playful Brazilian swing and 'Too Many Days' adds a touch of melancholy. Don Alex Albert's hypnotic remix deepens the drive for the club while 'So Tight' is soulful low-end pressure, and the live version of 'Us Less' closes things with an intimate, organic feel.

Distorted Sensory Perception is back after 3 years of lurking in the shadows...

Welcoming Zeta Reticula to the fold with 3 timeless, emotionally star struck tracks that not only bang, but also alure to a deeper, more contemplative works from their creator. ‘Return To Zeta Prime’ embodies a sound, that feels both ancient and futuristic. The record open with the sonic ambiance of ‘Signals Beyond Orion’ a deep space roller, brimming with a palpable, mysterious energy. Dynamic basslines frame sophisticated arpeggios as primal voices echo under emotive synth parts.

Followed by ‘Return To Zeta Prime’ Rolling breaks, alien LFO’s, rumbling bass parts & sorrowful leads that grows on you after each listen, which makes for a deeper journey in transit. In whole, a colder and more turbulent turn of direction.

The B-side of the record begins with ‘Reticuli Control Protocol’. Lush chords, rippling percussion, deep sub parts & enchanting vocals make for a poignant sonic statement. Beautifully balanced and bearing profound insight.

Concluding the release, ‘Reticuli Control Protocol (Zobol remix)’. An acidic re-work by DSP label co-owner. A stuttering re-imagining with a braindancey edge.

Made For The Dancefloor debuts with a clear statement: this is built for the club. Costas delivers four hypnotic, driving cuts, stripped of excess and locked into groove.

A focused introduction defining the label’s identity from the very first hit.

Jus-Ed's Underground Quality label has been living up to its title for more than 20 years now. The brief is simple - deep, smoky house music with soul, and it keeps coming at a steady rate from a blend of newer names and more established stars. Next up this late summer is a three-part remix package that revisits a gorgeous original by Nathalie Capello and Rose Lonegran. TrackHeadz kicks off with a nice swaying and dubby rework that is blissed out and spine-tingling, while Melchior Sultana taps into a melodic and Mediterranean sound perfect for sunset. DJRYDER's closer is a more percussive and prickly affair and Patrice Scott locks you into a zoned-out, late-night roller. Top-notch deep house.

Ste Roberts delivers his debut vinyl EP for the label — four seriously solid cuts of twisted, underground tech house.

The title track “The Washing Machine” is a driving peak-time workout built around Ste's trademark analogue synths, drum machines, rolling sub bass, sharp drums, bleeps and plenty of weird little twists and turns. It's already had plenty of road testing through Ste's DJ sets, including Houghton and fabric, and it does exactly what you want it to do on a dancefloor.

The A2 “Wong Kei” keeps things rolling with another slick and twisted piece of Ste's production. Clever sound manipulation and a seriously infectious groove make this another one that's going to work hard for Djs.

Over on the flip, Evasive boss Rob Pearson gets stuck into B1 “The Washing Machine”, remixing it into his trademark peak time tech, rolling sub-bass territory and adding a few extra mangled instructions for your increasingly misbehaving washer.

B2 “Shoplifting Like That, Yeah” brings Ste’s trademark electro/breakbeat sound into the mix, with tripped-out vocals, wobbling bass and a groove that’s already been causing a real stir in his live sets. Ste has been using it to open his shows, and it’s easy to hear why — a twisted, energetic way to get things moving.

Four tracks, plenty of character and a record that's perfect to push forward the Evasive catalog in style.

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

One of our most anticipated releases to date comes from electro titan X-Truder with an in your face, pull no punches 5-tracker that leaves no survivors. Industrial and mechanical in nature, this release doesn’t let up and will be a dance floor weapon for years to come.

After years in the digital space, ECOUL SND finally steps onto vinyl. Next Link System EP is ECOUL SND’s first 12” and the first solo record by founder Nicolas Barnes — a long-awaited step for the label and a focused statement of its sound.

Four tracks of minimal deep and deep tech, built around low frequencies, restrained grooves and spacious delays. The music moves patiently, leaving room for each element to settle and connect. The artwork follows the same sense of space and distance: cliff, water, and a narrow passage between them.

"Next Link System" sets the tone, "Not A Bad Place" opens things up, "Get My Soul" moves deeper into the dark, and "It Was" leaves a lingering trace after the final track.

Released in collaboration with MixCult Records.

Battle tool repress taken from DJ Junk's infamous Second To None label.

Night Luv is a new label founded by Italy's Simplr that wants to bring people together, whether times are good, bad or sad. Drop the needle on this inaugural 7" though and the times will surely be rad: it's a tweaked, chopped, screwed and filtered take on a stone cold soul classic with a smoky vocal fragment and deployed teasingly through the mix. The drums are rough and raw, the synths swirl, and the whole thing has an excitable energy. The K Lost Acid dub, meanwhile, is a little more club-ready with some chunky low-end drum funk.

Some records are made for the hour when the light goes long and low - when you can feel the day slipping and want to hold it a little longer. Escaping Sunset is a deep house collection built for exactly that stretch: warm, unhurried, and turned toward the last of the glow. Like the hourglass on its label, it's about the kind of time you can't keep - so you turn the glass over and let it run again.

Andu Simion, a Romanian producer with deep roots in the European minimal and microhouse underground (Tzinah, Palinoia, Diffuse Reality) and a careful hand for groove - teams with Thomas Wood, a deep and raw house producer (Circle of Us, Berg Audio), across the A-side: the title track and then "Onde Viola." On the flip, Sickdisco - now based in Belgrade, and as at home in deep and minimal house as he is among the minds behind punk outfit ВсадникиЖКХ (The Horsemen of Housing & Commercial Services) - lays down "Beats," before Nicolas Barnes, the Riga producer and ECOUL SND founder already woven into the MixCult family, closes the record with "Phantom Lights."
Adlibitum Tum Tunes is a division of MixCult Records

An inaugural LovingTouch label release curated by the members of Flammable Sundays (Brian Lyons & Michito Iwata), a 24 year long Sunday night weekly party from Seattle, WA. Featuring: Lush & dubbed out techno track by a LA native veteran producer Kenneth Graham, a stripped down deep house edit of DJ Sulli by Summit Dub and a groove heavy deep house heater by Seattle native Lorin Gabriel (Cyan wave).

Professor Roth's debut EP, self-released on his newly formed label Maestro, is music that feels half remembered. Familiar enough to settle into, strange enough to keep shifting beneath your feet, it lives in that sweet spot where groove and abstraction lean into one another. Dusty textures, hazy melodies and understated rhythms never demand attention, yet quietly refuse to let go. Every track feels like another realm of the same dream: warm, weightless and just slightly out of focus.

‘Daydreaming’ is an inviting first step into the haze, opening the door without ever fully revealing what's on the other side. Gentle movement carries drifting melodies that seem to appear and disappear with every listen. An ethereal vocal breakdown creates the feeling of being quietly carried away from its hypnotic groove before pulling you back under its spell. Patient and understated, ‘The Way It Is’ lets the groove do the talking while subtle details gradually come into focus. Dubby percussive chaos is softened by warm, lifelike pads, encouraging your body to move while your mind wanders elsewhere.

As the name suggests, ‘Swells’ arrives in waves. Layers fold over one another, building and dissolving without urgency. There's a beautiful tension between motion and stillness, leaving the track suspended somewhere between the dancefloor and a reverie. ‘Shades’ is a fitting close that blurs the edges even further. Soft, hypnotic and quietly psychedelic, it feels less like an ending and more like waking up slowly. Content to linger in that in-between a little longer, glitchy samples drift through swirling soundscapes, keeping the dancefloor gently spun until the very end.

In the year 1997 a German house label called Superfly caused a stir in electronic club land. One of the most remarkable releases on this imprint was van Bellen‘s „Let me take you (on a journey)“.

The track introduced a new genre with grovvy and pumpin‘ beats meeting a harmonic composition of warm and chilly pads and strings.

Now it‘s time to reissue this timeless tune remastered plus a brandnew interpretation of noone else than Belgium‘s finest house export Maxim Lany plus two already released but still hot mixes by Guy Mantzur & Roy Rosenfeld plus Sebastien Leger (All Day I Dream).

The Memory

A flash of light hits your eyes. Your ears hear muffled bass. As bright white fades to amber, you find yourself in a familiar place. A place you have been to many times. Though the edges of your memory are no longer sharp, the shape of it all is in your DNA.

The smell of rusted metal, dirt-covered floors that once hosted workers, machines and industry mixed with spilled beer and the sweat of a thousand bodies moving to syncopated music. As your vision comes into focus, you’re back there.

A warehouse in the former industrial part of town. You’re surrounded by hundreds of strange but familiar faces, each of you dancing into a frenzy countless times under the moonlight — moving, jumping, laughing and connecting.

Sunlight pours through warehouse windows or appears over a distant horizon.
The DJ plays a song that completes the journey you all just shared. You are desperate to hold on to the feeling of the last song that lands you safely from the night and into a new day. The feeling is deep. Pure.
Especially when communal ecstasy is juxtaposed against the edges of the warehouse floors, the intimacy of city lofts, the spiritual nature of open fields or forests.

The Custodian

I spent just shy of two decades in spaces like that — as a raver in early 1990s Los Angeles, then a DJ, producer, label owner and head of Moulton Studios in San Francisco.
The Custodian Project is a memoir of a life lived deep inside the culture and business of house music from 1990 to when I stepped away from music as a full-time life in 2015 — told through music, stories and DJ events.
Each release of new music draws inspiration from feelings, emotions and memories of that life — different rooms, different eras. It is an exploration to understand and capture what those feelings were, and in some cases still are.

The Music

This EP is the beginning. 1990. When I first found the rave and re-ordered my DNA based on the sounds, songs and feelings of that era that can be summed up in the title track — Sunrise Through Warehouse Windows.
All three tracks here are an attempt to reach back and touch those mornings again. To put the listener back in the warehouses or open spaces where we would dance as the sun rose over the horizon.
To capture what I felt back in 1990 when the night transitioned into daybreak. Bodies moving in unison. People, places and music all connect. An era before algorithms.

(tracklisting)

A1 — Sunrise Through Warehouse Windows — 7:51
B1 — *Truly Amazing — 8:16
B2 — Sunrise Through Warehouse Windows (Floating Beatless Mix) — 4:20

Written and produced by Chris Lum for Abitare Music (ASCAP)

* Written and produced by Chris Lum - Abitare Music (ASCAP) & Jay-J Hernandez Stopped in Time (ASCAP). Originally released on Leaf Recordings 2000

An exciting announcement - The Return Of Cosmic Ritual by Joaquin Joe Claussell.

The Return of Cosmic Ritual

Kanita- Forgiveness is a Beautiful Thing Featuring a Cosmic Tribute to Nujabes

Cosmic Ritual, the early recording alias of Joaquin Joe Claussell, emerged during the formative years of his journey-with at the time the young and visionary Spiritual Life Music label. From those beginnings came For The Loft in You, a composition whose atmospheric language would travel far beyond its original moment-helping shape a sonic vocabulary that continues to resonate throughout the deeper realms of contemporary dance music.

Its influence can still be felt today: in the spaces between rhythm and silence, in the textures of deep house, ambient soul, spiritual jazz, and in productions created by artists who continue to explore the unseen dimensions of sound.

Now, after its long journey through the cosmos, Cosmic Ritual returns.

At the heart of this new chapter is “Kanita (Forgiveness Is a Beautiful Thing)”, a composition that journeys even further inward-toward the more atmospheric, introspective, and soundscape-oriented side of Joaquin Joe Claussell’s musical spirit.

It is music for the inner traveler.

And as another celestial passage, the release also offers a special Cosmic Tribute to Nujabes Titled "Heaven", Nujabes is a deeply admired artist whose work transcended boundaries and whose musical spirit continues to inspire generations across cultures and continents-even after his untimely departure.

This tribute is more than an acknowledgment. It is a meeting of frequencies, a quiet conversation between kindred spirits who understood that music could exist beyond genre, beyond geography, and beyond the limitations of ordinary perception.
And Finally " Myths Across Tribes " A Trance Dance Percussion number that takes the listener into the jungles of Africa.

As with all of Joaquin Joe Claussell’s work, The Return of Cosmic Ritual l invites the listener to go deeper.

For those who seek mind travel.
For those who listen between the notes.
For those drawn toward cosmic ambience, spiritual resonance, and the deeper dimensions of sound.

For Club Vision’s 15th anniversary, we wanted a record that would move beyond genre classifications, reflecting a project always driven by passion and musical discovery.

Giuglio’s CV11 follows this philosophy, with five tracks exploring different rhythms, atmospheres and sonic territories while coming together as one coherent journey.

“Spell Caster” opens the EP with dark, hypnotic Techno, blending deep basslines with an ethereal and melancholic melody. “Back in Time” moves into warmer Housy and Progressive territory, echoing the label’s sonic roots.

On the B-side, “Dumb” delivers a direct and dynamic energy, while “Transfer” brings the record to its peak with a dirty, acidic bassline and sharp melodies, built purely for the dancefloor.

The EP closes with “Made Man”, a deeper and more trippy track that brings the journey into a suspended, introspective dimension.

2026 Repress !


Prepare yourselves for an electrifying journey as Temudo makes his mark on Sciahri's label Sublunar, with a mesmerizing EP that encapsulates the essence of the artist's multifaceted techno mastery.

Hailing from Portugal and renowned as the co-owner of Hayes, Temudo has left an indelible mark on the techno landscape, affiliating with illustrious labels such as Klockworks and Blueprint. With a distinctive sonic signature, this EP, unveils the various dimensions of Temudo's sonic vision.

The sonic odyssey commences with 'U where my first second choice,' a pulsating blend of energy and hypnotic allure. Transitioning seamlessly into 'Asset 2,' the track resonates with an authentic, relentless stomping groove that is nothing short of captivating.

On the flip side, the EP unveils the warmer and groovier sounds of '2029' alongside the minimalistic and unforgettable tones of 'Affection.' These tracks beckon listeners to transcend to an alternate dimension, where the boundaries of techno are pushed to their limits.

Two decades after its original release, Herbert Boese’s “Charger“ / „Hypnotoad” returns to vinyl.

Originally released as the second record on Jaktronik, the label Herbert Boese ran together with Marc Romboy, the two-tracker captures a very particular moment in German electronic music: stripped back, physical and functional, yet deeply rooted in the sound of Detroit.

At the time Boese was a resident DJ at Düsseldorf’s legendary Harpune club and one of the people shaping the city’s underground electronic music scene. His Jaktronik productions became an extension of that world, music made by a DJ, for the dancefloor.

“Charger” was an immediate standout. Marc Romboy selected the record for his chart at the time, describing its combination of heavy bass and Detroit-influenced strings as a track that made dancefloors scream.

On the flip, “Hypnotoad” goes deeper and more hypnotic: reduced, trippy and relentlessly effective, built around repetition, tension and groove.

Twenty years later, neither track sounds like a museum piece. Quite the opposite. In a time when a new generation is rediscovering the raw, minimal and machine-driven sound of the mid-2000s, “Charger“ / „Hypnotoad” feels remarkably current again.

The original tracks, remastered and finally back on vinyl.

In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.

Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.

Scratchy ASMR sounds introduce us to the opening track ‘zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.

On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.

Frankfurt-based DJ and producer Kuyateh launches his own label: PROVIDER.

With the first release on his new imprint, he provides you with three boldly honest tracks of his own, getting straight to the point.

Provider is the key to his hidden music box: now unlocked to gradually reveal new music over time.

Release the unreleased!

Collecting pre-orders for a limited time only

Canny Records is here! The first release comes from label owner Swin, setting the tone with four deep and dubby house cuts.

Opening into lusher, dreamier and more abstract territory, GEKO02 is the second release on the new label by OK EG, GEKO. This record finds the Melbourne duo in the zone, producing refined synth and percussion workouts that elude easy classification. Pulse and bounce are in abundance, balancing richly detailed rhythms with effortless tension and release. Immersive in headphones and enormous on open air dance floors, these beautifully realised tracks are precise and organic in equal measure. Sure movements, soft pressure.

"Potency rolls into double figures with a new release from Malik Kassim, aka Retromigration. Following albums and singles on labels including Love On The Rocks, Rhythm Section and Wolf Music, the tenth release on Cromby's rapidly-evolving, floor-focused imprint locks into the sound of one of house music's most consistent and consistently exciting producers, seamlessly bridging the established Potency energy with a luxurious vision of the genre. 'Love Rock' summons an instant block party energy, showcasing the expert weight of Kassim's basslines, as well as hinting at the fusion of hip-hop and jazz that bubbles through the textures of the German-Nigerian producer's studio work. Meanwhile, 'I Do Dance' stays true to the promise of its title, delivering blissful sun showers of synths amid emotional pads and hints of the classic Korg M1 organ sound, a universal signal to party. Ushering in the flip, the more tightly-wound percussion of 'Neighbourhood' maintains Kassim's driving groove, while dancehall samples and dub influences expand the established Retromigration sound into new spaces. Finally, 'Go 2 Nowhere' completes the dance, masterfully blending pillowy breakdowns and wistful keys with the EP's most urgent groove. Rich in detail while keeping the floor in constant motion, 'I Do Dance' reinforces Malik Kassim's timeless touch for unmistakably modern house music."

Body2Body's first release is from its three founders: Elia, Nikizi and Axel. Three friends who've spent the last 6 years making music together. The label is new. The friendship isn't. Four tracks, each one its own room. Nikizi opens with a fearless, percussive-driven groove. Axel follows with classic, raw bassline-driven depth. Elia brings a hypnotic groove with subtle vocal infusions. Oclock closes with a jazzy hip-hop turn with tantalising vocals. A debut for the long bag. Made for the kind of nights that don't end early.

The mission is complete.
With the landing behind him, the astronaut begins spreading the sound of Planet Tapes across the planet.
What was once a distant destination is now alive with sound, light and movement. The music starts to travel, bringing different identities, energies and visions together on the same frequency.
Signals of Unity captures this exact moment: four artists, four different messages, one shared destination.

A1 – Mirko Felicioli – Sin City
Mirko Felicioli opens the record with a strong and distinctive statement, built around tension, groove and a sharp sense of movement.
A2 – Mathi – Starship
Mathis continues the transmission with Starship, a cut suspended between movement, imagination and futuristic drive.
B1 – Two Opposites – Tormento
The label captains return with Tormento, combining energy and emotion in a track built for movement, while keeping their unmistakable approach to electronic music.
B2 – Ginno – Void
Gianko closes the record with Void, a deep and evocative final passage that lets the signal drift beyond the dancefloor.

Four artists. Four signals. One planet.
The music has spread.
The people have gathered.
The party has begun.

PT.007 – Signals of Unity

After three original releases so far, two on his own label Human Endeavour, sonic alchemist Acoustic Vision features on Prozpektiva.

DJ Support: Fantastic Man, Sedef Adassi, Shanti Celeste, Tornado Wallace, OK Williams

F-Man flips an early 00’s RnB classic into a haunting, West Coast–flavoured club edit with stripped drums, deep low end and sweeping strings. Summer festival favourite via Sedef Adasi & Shanti Celeste. Comes with Instrumental + a heads-down acid Bonus Bass Mix. White label, limited run.

2026 Repress

Legendary is a bold title for an EP, but is fully justified in the case of this new 12" from Silver Walker, which gathers some of house music's best and most proven talents. Jon Dixon opens with the light, fluttering house stylings of 'Five 15', which have sax motifs adding a touch of classy hi-tech jazz. Dallas man JT Donaldson follows by folding jazz phrasing into a swinging, deep house framework with understated finesse. On the flip, Abacus delivers 'A Gathering Of Griots' a warm, melodic cut bathed in sunlight and label head DFRA closes with a tribute to the great Mike Huckaby that is driving but soft, reverential and with a bittersweet energy.

2026 Repress.

What a debut from Mad Honey on the newly grown Space Grapes label! All original material - the music has a strong reference to the 70s/80s New York disco sound from the likes of Patrick Adams or Leroy Burgess. TIP!

Milan-based independent label WEorUS Records celebrates its 10th vinyl release with WU010, a four-track Various Artists EP bringing together four distinctive names from the international minimal and deep house underground.
Moving between deep, hypnotic house, micro-minimal grooves and darker after-hours territory, WU010 is a carefully curated selection built for the dancefloor, with each track offering its own take on rhythm, atmosphere and club functionality.
Chicago veteran DJ Jes opens the record with a deep, rolling groove driven by a solid bassline, hypnotic vocal cuts and enveloping synths.
Pressure Point delivers an atmospheric micro-minimal cut, combining crisp percussion, dreamy pads and subtle melodic elements into a versatile and uplifting club track.
Romanian producer Dragosh returns with a tight piece of micro-house, built around precise drum-machine programming, organic glitches and hypnotic delay work.
Renè Audiard closes the record on a darker note, combining deep sub-bass, sparse clicks and a stripped-back nocturnal groove designed for extended after-hours sessions.
WU010 marks a decade of vinyl releases for WEorUS — four artists, four distinct approaches, one focused journey through the deeper side of the underground.

The fourth release from 5511 Records brings together seven different producers, each contributing their own interpretation while staying true to the label’s musical vision and distinctive identity. Across the EP, four original tracks explore a range of sounds and styles connected by a common direction, a mix of Brazilian music, eclectic, and groove driven influences. The fifth track come by a remix from Otis, adding a fresh and energetic perspective to the EP.

Slump Recordings returns with a four-track EP from recent label alumni eira haul. Of Paradise moves between sleek late-night rollers, pumping percussion and smoother after-hours moments. With previous releases on Limousine Dream, R.A.N.D. Music and more, eira haul delivers yet another mature house record that fuels itself from nostalgia whilst sounding like nothing else.

Nuclear Waste is arriving to the LP series with the album called “Uranium Dealer”. The Spanish based artist is a long friend of the label who has already appeared on Exarde, therefore is a great honour to welcome him back with such profound and complete body of work. Per usual completed with the art of graffiti artist Gkoner the album is really shining through with the radioactive particles it consists of. Whether it’s brutal electro numbers or more spiritually infused dense techno the album may find a home with its listener. The elements appearing to be colliding at an intensive speed to form the fuel for the nuclear audio warfare.