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Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

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Aftersome refers to that suspended moment of wonder, when you realize you’ve been led here by a chain of unexpected events and small decisions — so improbable they almost feel preordained. Between chance and destiny, it is a fragile state where emotion and reflection intertwine.
This album by You Man embodies precisely that idea: each track is a step along this path, a resonance born of accidents and coincidences, ultimately shaping a coherent trajectory despite its improbability.
The work moves between techno, house and post-wave, infused with science-fiction and fantastical influences, constantly blurring the line between reality and imagination.
The experience is enriched by remarkable collaborations: Marc Almond (Soft Cell), Local Suicide, Jérôme Voisin, each bringing their own brilliance to this odyssey.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

J.S.Zeiter returns to Furthur Electronix after presenting the first release on the label back in 2017! A full circle moment as this EP continues where the previous one left off. Four Deep and well throught through Acid cuts that puncture the mind. Limited pressing with custom insert.

Counting to forty two... I draw a breath from a single drifting oxygen molecule and swim my self into the eye of truth. Behind that eyelid floats a teardrop - falling - leaving behind a resonating noise that becomes an invisible language, echoing the questions of reality. Teardrops turns to rain, tinting existence and grounding gravity in my soil. While my footprint takes shape within a flourishing garden, I'm searching for a logical answer to the life that has never been but always existed. Through all, I remain my own nature. credits w/p: Joline Scheffler design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome

Chinaski opens 2026 with SOULMEEX record label exactly where he thrives best: suspended between nostalgia and futurism, melody and motion. Known for his synth-forward language and cinematic instincts, the Berlin-based producer delivers a release that feels both playful and sharply intentional, channeling emotion without sacrificing precision.

Across the EP, Chinaski revisits the spirit of Italo through a contemporary lens, shaping glistening arpeggios, buoyant basslines, elastic grooves and joyful synth stabs into five tracks that move effortlessly between the dancefloor and the imagination. There’s an unmistakable sense of lightness here-music that doesn’t overthink itself, yet is clearly crafted by someone who understands form, tension and release.

Rather than leaning on retro tropes, Chinaski treats dance music as a living, breathing language. The melodies feel familiar but never predictable; the rhythms pulse with warmth and confidence. An unforced sense of freedom runs through the release, inviting repeated listens and late-night moments alike.

With this EP, SOULMEEX sets the tone for 2026 with clarity and purpose, and Chinaski delivers the spell-subtle, melodic, and quietly irresistible.


Fresh on the Discos Panorama series, we head back to Colombia with the undisputed king Fruko y Sus Tesos, pairing him with another all-time classic on the flip from The Latin Brothers. Two heavyweight dancefloor cuts, one essential 7inch.

On the A-side, Fruko does what he does best — driving, percussive salsa built for movement, locked-in rhythm section, sharp horns, and that unmistakable swing that’s kept his records in DJ bags for decades. On the flip, “Buscándote” from The Latin Brothers brings a slower, more melodic touch without losing any punch — real music.

Both sides feature the presence of the legendary Piper Pimienta Díaz on vocals. His voice is raw, expressive, and instantly recognisable. A true legend of the game.

Part of PANORAMA’s Discos Panorama series, this release continues the label’s focus on Colombian salsa at its most vital and dancefloor-ready. Carefully selected, respectfully remastered, and pressed for DJs and collectors alike — music that’s been doing the work for years, now brought back where it belongs.

With Le Tact, Joseph Schiano di Lombo delivers a work of rare finesse, conceived as a posthumous conversation with photographer Henri Cartier-Bresson. Through seven meditative pieces - whose evocative titles echo the photographer's words when describing the art of creating an image - this album explores the instinctive and delicate relationship that connects music and photography to our everyday lives.

Presented for the first time on stage during the 20th anniversary of the Henri Cartier-Bresson Foundation, Le Tact draws its inspiration from the photographer’s art: a sensitive and respectful approach, capturing the essence of things without altering them. This spirit of discretion and precision is distilled by Joseph into his music, blending composition and improvisation with intuitive elegance. While Joseph composed and performed the piano, organ, synthesizer, clarinet, and guitar himself, he opened his arrangements for the first time to other musicians. Agnes Wasniewska (oboe), Barbara Misiewicz (cello), and Tomasz Baye Zietek (trumpet) bring their sonic textures, enriching this work, which is both intimate and collaborative. The album was recorded between Paris and Sopot (Poland) during a residency organized by the CNM.

The album’s title perfectly encapsulates its essence: Le Tact. This simple word, evoking both the sense of touch and artistic intuition, reflects the way Joseph composes—with respect, humility, and attention to detail. Each note seems to float lightly, as if to preserve the serenity of the moment. Le Tact transcends genre boundaries. Between ambient music and contemporary art, this album invites listeners to slow down and truly listen. It is a tribute to the beauty of the world, captured with the subtlety of a photographer and the sensitivity of a musician.

A concentrated four track showcase extending the warm glow of last summer’s album “Cruise Control” into the spring of 2026. Satin Jackets lines up a heavyweight cast and delivers an EP that moves effortlessly between sunlit elegance and late night force.
A1) Satin Jackets & Kimchii – “Bring On Up Our Love” (Flashbaxx Remix)
Flashbaxx transforms the Satin Jackets and Kimchii track into a driving disco house floor weapon with bright chords and classic dancefloor swagger. Guaranteed to get everyone grooving.
A2) Satin Jackets & Erobique & Thunder – “You Get Me So High”
A radiant meeting of Satin Jackets, Erobique and Thunder that sails between disco, Westcoast soul and soft focus glamour. Built around the 2025 vocal, the trio turn it into a warm and irresistibly smooth homage to timeless Yacht Rock.
B1) Satin Jackets & Nazzereene – “Know Me” (Johannes Albert Remix)
The Berlin producer dives deep into Chicago house aesthetics and delivers a crisp, rolling late night tool that lights up any club at peak time.
B2) Satin Jackets feat. Seint Monet – “Control” (Ceci Remix)
Ceci closes the EP with a dreamy, slow burning rework that wraps Seint Monet’s vocal in hazy pads and gentle after hours warmth.
Extra Mile EP is the kind of twelve inch you do not pass on. A tight, potent combination of artists who elevate each other with ease.

Black Marble erwachte im Herbst 2012 zum Leben, inspiriert vom Synthwave-Revival der frühen 2000er Jahre in New York City. Heute, vierzehn Jahre später und sieben Veröffentlichungen weiter, macht Chris Stewart weiterhin Platten, während er über Maschinen gebeugt sitzt, die sich beim Einschalten warm anfühlen und die man überreden muss, um in der Stimmung zu bleiben. Seine Alben, die ausschließlich von Stewart geschrieben, aufgenommen und veröffentlicht werden, bleiben einzigartige Visionen, mit Songs, die versuchen, ein diffuses Pastiche zu vermitteln, das nun von dem Wunsch geprägt ist, das Ganze in eine Botschaft zu hüllen, die davon erzählt, wo er gewesen ist und wohin er gehen will. In seiner neuesten Vision, ,Life in Small Spaces", kommentiert Stewart die Musikindustrie und seine Rolle darin und reflektiert darüber, wie sich Underground-Musik im Laufe der Zeit verändert hat und wie ein Leitbild, die Dinge einfach zu halten und sich selbst treu zu bleiben, das einzige Ideal für das Leben in dieser komplizierten Landschaft ist. Stewarts Wunsch, die Zeit mit intakten Idealen zu überbrücken, zeigt sich im Songwriting, das die Pop-Sensibilität des Projekts beibehält und gleichzeitig neue Tricks in den Hut zaubert. ,Life in Small Spaces" tauscht Synth-Wände gegen mehr Gitarre ein und greift dabei auf frühe amerikanische College-Radio-Staccato-Gitarrenlinien zurück, die an Pylon, The Necessaries und R Stevie Moore erinnern, sowie auf Live-Drum-Samples - eine Anspielung auf den einfachen, metronomartigen Stil von Wire. Stewart erklärt den Grund für die Veränderung als einen Weg, ,diese glockige, hypnotische Qualität zu erzeugen. Wie ein Radio-Drehknopf, der zwischen zwei Sendern steht." Visuell zeigt ,Life in Small Spaces" Stewart allein auf dem Cover in einem kargen Raum, umgeben von einer Explosion aus Konfetti - ein Bild, das eine in sich geschlossene Welt widerspiegelt, die zwar klein, trostlos und überladen wirken mag, aber ganz und gar seine eigene ist. Ein passender Rahmen für ein Album, das Begrenzung als eine Form der Klarheit begreift und die Geschichte davon erzählt, sich für ein einfaches Leben zu entscheiden, Stabilität und Komfort aufzugeben zugunsten einer Existenz voller mutiger und fesselnder Verbindungen. Dies spiegelt zudem Black Marbles Vertrauen nicht nur in seine Kunst wider, sondern auch in die Gemeinschaft, die sich im Laufe der Jahre um das Projekt herum entwickelt hat. ,Life in Small Spaces ist das, worüber ich als Künstler sprechen möchte. Es ist genau dort, wo ich mich in diesem Moment befinde, und ich weiß, dass ich mit meinen Gefühlen nicht allein bin." Dieses Gefühl ist kein Vorbehalt. Es ist der springende Punkt. ,Life in Small Spaces", mit seiner introspektiven Lyrik, die geschickt in Black Marbles strahlender Musikalität verborgen ist, ist eine ernsthafte Analyse der Belastungen, die Künstler prägen. Es ist eine Einladung, einen minimalistischeren Lebensstil zugunsten kreativen Ausdrucks und Freiheit zu akzeptieren und bewusst zu wählen - und niemals deine Werte für die verlockende Illusion von Erfolg opfern zu müssen.

Black Marble erwachte im Herbst 2012 zum Leben, inspiriert vom Synthwave-Revival der frühen 2000er Jahre in New York City. Heute, vierzehn Jahre später und sieben Veröffentlichungen weiter, macht Chris Stewart weiterhin Platten, während er über Maschinen gebeugt sitzt, die sich beim Einschalten warm anfühlen und die man überreden muss, um in der Stimmung zu bleiben. Seine Alben, die ausschließlich von Stewart geschrieben, aufgenommen und veröffentlicht werden, bleiben einzigartige Visionen, mit Songs, die versuchen, ein diffuses Pastiche zu vermitteln, das nun von dem Wunsch geprägt ist, das Ganze in eine Botschaft zu hüllen, die davon erzählt, wo er gewesen ist und wohin er gehen will. In seiner neuesten Vision, ,Life in Small Spaces", kommentiert Stewart die Musikindustrie und seine Rolle darin und reflektiert darüber, wie sich Underground-Musik im Laufe der Zeit verändert hat und wie ein Leitbild, die Dinge einfach zu halten und sich selbst treu zu bleiben, das einzige Ideal für das Leben in dieser komplizierten Landschaft ist. Stewarts Wunsch, die Zeit mit intakten Idealen zu überbrücken, zeigt sich im Songwriting, das die Pop-Sensibilität des Projekts beibehält und gleichzeitig neue Tricks in den Hut zaubert. ,Life in Small Spaces" tauscht Synth-Wände gegen mehr Gitarre ein und greift dabei auf frühe amerikanische College-Radio-Staccato-Gitarrenlinien zurück, die an Pylon, The Necessaries und R Stevie Moore erinnern, sowie auf Live-Drum-Samples - eine Anspielung auf den einfachen, metronomartigen Stil von Wire. Stewart erklärt den Grund für die Veränderung als einen Weg, ,diese glockige, hypnotische Qualität zu erzeugen. Wie ein Radio-Drehknopf, der zwischen zwei Sendern steht." Visuell zeigt ,Life in Small Spaces" Stewart allein auf dem Cover in einem kargen Raum, umgeben von einer Explosion aus Konfetti - ein Bild, das eine in sich geschlossene Welt widerspiegelt, die zwar klein, trostlos und überladen wirken mag, aber ganz und gar seine eigene ist. Ein passender Rahmen für ein Album, das Begrenzung als eine Form der Klarheit begreift und die Geschichte davon erzählt, sich für ein einfaches Leben zu entscheiden, Stabilität und Komfort aufzugeben zugunsten einer Existenz voller mutiger und fesselnder Verbindungen. Dies spiegelt zudem Black Marbles Vertrauen nicht nur in seine Kunst wider, sondern auch in die Gemeinschaft, die sich im Laufe der Jahre um das Projekt herum entwickelt hat. ,Life in Small Spaces ist das, worüber ich als Künstler sprechen möchte. Es ist genau dort, wo ich mich in diesem Moment befinde, und ich weiß, dass ich mit meinen Gefühlen nicht allein bin." Dieses Gefühl ist kein Vorbehalt. Es ist der springende Punkt. ,Life in Small Spaces", mit seiner introspektiven Lyrik, die geschickt in Black Marbles strahlender Musikalität verborgen ist, ist eine ernsthafte Analyse der Belastungen, die Künstler prägen. Es ist eine Einladung, einen minimalistischeren Lebensstil zugunsten kreativen Ausdrucks und Freiheit zu akzeptieren und bewusst zu wählen - und niemals deine Werte für die verlockende Illusion von Erfolg opfern zu müssen.

Les Enfants Sages, coming from the deep underground of freetekno scene, give us four powerful tracks melting industrial, freetekno and hardcore spirit. Limited edition, only vinyl.

,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

As with the band’s 2023 release of the same name, Refreshing Part 2 is a decisive and fierce collection of percussive techno that nonetheless travels its path with a heightened level of funkiness.
The Italian duo describe the concept behind this collection as being “not about resetting, but about balancing. Refreshing means reconnecting with the present and with the future…focusing on one’s own way in order to prevent the flow from becoming automatic, uncontrolled, and
without orientation. It is more a direction than a path.”
The four tracks on the 12” are hypnotic dives into a full spectrum of club music: the rhythms and sound design guiding the subconscious into visions of past, present and future intermingled, a reminder that all moments co-exist simultaneously.
Side A passes from the stripped-down intensity of The Way through to Elisir (Elixir), which manages to pull off a trick of feeling light and floaty while maintaining the power of its predecessor. The flip side opens with the forceful drive of Activate before making way to the
percussive elasticity of Family Tree, a track which closes out the EP by recalling, in both name and sound, how that which came before deeply affects the now, though often in ways only subliminally perceived.
Digital-only track Fixed in Flux continues this concept, and the overall themes of Refreshing Part 2, with further evocations of intent and movement; remaining present in change, without resisting it, yet without dissolving into it.

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

DJ Support: Nic Fanciulli, Joe T Vannelli, Danny Tenaglia, Richie Hawtin, Nick Curly, Shiba San, Adam Beyer, Marco Bailey, Boris, Jamie Jones, Markus Schulz, Tom Novy, John Digweed, James Zabiela, Tiesto, Claude VonStroke, Roger Sanchez, Blond:ish, Adriatique, Paul van Dyk, Joris Voorn, Deer Jade, Vintage Culture & Paco Osuna

Few labels can claim true legendary status in dance music - where trends fade as quickly as they emerge and icons are made and broken overnight. Yoshitoshi stands as one of those rare exceptions.

The label makes its return with a statement of intent: a definitive new remix package of Alcatraz’s era-defining “Giv Me Luv”, a dancefloor classic that hasn’t seen fresh interpretations in over a decade. While the original has remained a staple for those who know, it’s now primed for a new generation of club enthusiasts.

“Giv Me Luv” represents everything Yoshitoshi has been standing for: raw energy, unforgettable hooks, and that indefinable magic that makes a track timeless. Bringing it back with new remixes after all these years demanded artists who could match its legacy.

Enter Sébastien Léger, the French maestro whose thirty-year journey has seen him perform everywhere from Coachella to the Great Pyramids of Giza. His interpretation delivers the sophisticated, hypnotic drive that has made him one of electronic music’s most respected tastemakers and the founder of the acclaimed Lost Miracle imprint.

Alongside him, progressive titan Jerome Isma-Ae, whose unique fusion of trance, techno and house has dominated Beatport charts and earned him breakthrough recognition from Armin van Buuren, unleashes his signature sharp, breathtaking power on the classic.

The vinyl also includes the original mix on the B-side, completing a package that marks Yoshitoshi’s triumphant return to form.

L0N3R is a new label from French artist Elise Massoni, conceived as a space for inward movement, solitude and quiet attention, where introspective, groove-led techno takes shape through stripped-back structures and rhythmic, machine-driven jams. With its debut EP, the label sets out a warm, reduced and exploratory sound - rooted in rhythm yet open to narrative shifts - speaking as much to private listening and introspection as to the dancefloor.

Falling Ethics continues its relentless momentum with FEX029, welcoming dc11 to the roster for the uncompromising 'Stuck In The Overhead EP'. Being true to the label's tradition of exploring the darker, more industrial-leaning corners of techno, this four-tracker serves also as a masterclass in precision, stripped-back aesthetics, mechanical grit and minimalistic sound design. Essential, heavy-duty techno.

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

For Oath's latest release presents Vault with Holes, the first record from French duo C.ling. Formed by lifelong friends Paul Brunet and Alexandre Maillet, now based between Paris and Brussels, the pair draw from a wide European electronic music network and a classical background.

Combining hyper-kinetic sound design, delicate instrumentation and fluid, polyrhythmic layering, C.ling's sound is immersive and genre-less at times, rooted in remembrance and shifting emotional spaces. Vault with Holes unfolds like chapters, where thresholds between tracks feel like breaks in a narrative, reflective, tactile and quietly expansive.