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Michael Forzza unveils Obscure, a two-track EP navigating the darker edges of atmospheric techno with precision and intent.

A) Obscure is a peak-time weapon built on powerful percussive drive and a commanding groove. The rhythm pushes forward with controlled intensity, locking the dancefloor into motion. As the track evolves, the rhythmic pressure gradually recedes, allowing a shadowed melodic atmosphere to emerge in the final moments, adding depth and contrast without losing its dark identity.

B) Torture ventures into a more industrial realm. Dense textures, mechanical tension and hypnotic repetition shape its core, creating a sustained rhythmic strain. Then, when the pulse finally withdraws, the structure opens into a striking melodic finale, transforming the track into a suspended, almost cinematic closing atmosphere.

With OBSCURE, Michael Forzza explores the fragile line between impact and introspection, pressure and release. A release crafted for intense peak-time moments and the shadows that follow.


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Michael Forzza dévoile Obscure, un EP deux titres qui explore les territoires les plus sombres de la techno atmosphérique avec précision et intensité.

A) Obscure est un véritable track peak time, porté par une puissance percussive affirmée et un groove implacable. La tension rythmique s’installe et maintient le dancefloor sous pression, avant de s’effacer progressivement en fin de morceau pour laisser émerger une atmosphère sombre et mélodique, apportant profondeur et contraste.

B) Torture s’aventure dans une dimension plus industrielle. Textures denses, tension mécanique et répétition hypnotique construisent une montée intense. Puis, lorsque la pression rythmique disparaît, le titre bascule vers une finale mélodique surprenante, transformant l’énergie brute en une atmosphère finale plus immersive.

Avec OBSCURE, Michael Forzza joue sur l’équilibre entre impact et relâchement, puissance et émotion. Un EP taillé pour les heures sombres et les dancefloors exigeants.

2026 Repress

Samurai Music heralds a new seam of spacious, rhythmically curious exploration with the launch of the Saibai sub label, opened in mesmerising fashion by Brendon Moeller.

The overarching premise of Saibai is to nurture a more delicate, meditative inversion of Samurai's physical, dense sound, leaning less on the dynamics of the dancefloor while holding true to the intricate drum play and dubby principles that bind the label's sound together.

In this open-eared, inquisitive environment, Moeller is the perfect fit as an artist with decades of diverse offerings across all kinds of dubwise manifestations. On SAIBAI1, the US-based, South Africa-born producer stretches out with a live-sounding drum palette and exquisitely rendered synth work loaded with detail, character and organic flourishes. It's a light-footed approach with plenty of air flowing through the mix, but there's considerable weight in every notch of the production, not least the imposing channels of sub bass coursing beneath the frequency range.

SAIBAI1 is a feast for the senses, wholly immediate and front-loaded with fascination, setting the perfect tone for Saibai as a platform for charming, immersive electronics that take a fresh diversion from the fundamental core of Samurai's sharply defined sonic focus.

In an engrossing lattice of polyrhythmic beat science and deep atmospheric meditation, Samurai Music is thrilled to welcome Marco Shuttle to the fold for the Sumud EP.

Since his early years locked into the 00s London techno scene, Marco Sartorelli has developed as an artist entirely on his own terms. Through the rush of new ideas and cross-pollination that has characterised cutting-edge techno over the past 20-odd years, Sartorelli has travelled as Marco Shuttle from one considered stylistic concept to the next. On his own Eerie label and across expansive releases for respected outposts such as Spazio Disponibile, Incensio and Astral Industries, he's taken an exploratory approach to rhythm and spatial design while always drawing on intentional thematic frameworks, creating distinctive and immersive dance music in the process.

As Samurai Music continues to celebrate the rich seams of inspiration where deep techno and drum & bass intersect, Sartorelli's malleable, mysterious strain of drum work fits right in and sets a captivating tone for the label's operations in 2026. 'Sumud' is a steely drum mantra dealing in fractured patterns with the primal patina of the early Artificial Intelligence era, while 'Las Dunas de Taroa' leans on gently pulsing melancholia undulating at a half-time pace. 'Iso 50' taps into raw, analogue minimalism once more, evoking the sound of Roman Flugel's Ro70 records in their icy, alien formation. Completing the set, we're guided towards the tense electronica of 'Polylayering What I've Got', where uneasy melodic chimes interlock with intricately programmed drum machines.

There's a distinct sense of golden-era, mid-90s electronica coursing through Sumud EP, but Sartorelli shrouds the classic tools at his disposal in his subtle signature atmospherics, pushing towards a plain of expression that transcends time.

Cristi Cons returns to Amphia with Out of Cycle Part 2, expanding the narrative beyond fixed frameworks.

Cristi Cons continues his exploration of fluid musical identity with Out of Cycle Part 2, released via Amphia, the label which he co-founded and runs alongside Vlad Caia.

Conceived as a continuation of Out of Cycle Part 1 released back in 2021, the new installment deepens the concept of operating outside predefined structures, both in form and in sonic direction. Rather than adhering to a single aesthetic, the album reflects a wide spectrum of influences, capturing an evolving artistic language shaped by intuition, experimentation, and long-term musical curiosity.

The title Out of Cycle acts as both a statement and a method: stepping outside familiar loops, resisting categorization, and allowing the music to exist beyond rigid expectations. This philosophy extends into the production itself, where subtle variations in structure, tone, and pacing reveal a process driven less by formula and more by exploration.

Across the album, rhythmic frameworks shift between hypnotic, club-oriented patterns and more introspective passages, while textures unfold with a focus on depth, movement, and spatial detail. Each track functions as part of a broader continuum, yet maintains its own identity, highlighting a deliberate departure from cyclical repetition in favor of a more open-ended approach.

Released on vinyl and digital formats, Out of Cycle Part 2 marks another chapter in Cristi Cons’ ongoing dialogue between club functionality and deeper listening contexts. While rooted in stereo composition, the project also opens the possibility for further reinterpretation, reflecting an interest in how the same material can evolve across different listening environments.

With this record, Cristi Cons continues to trace a distinct artistic trajectory, one that prioritizes depth, individuality, and an ongoing expansion of his musical language as it evolves beyond established forms.

Dedicated to my dear friend Laurentiu Gavrila (Funk-e).

2026 Repress

***
and the color in my eyes
has gone back into the sea.
***

New 10th anniversary fully remastered special silver-vinyl edition of Soul Jazz Records" ground-breaking Venezuela 70 featuring Vytas Brenner, Pablo Schneider, Angel Rada, Miguel Angel Fuster and many more. Venezuela 70 was the first ever compilation of its kind to take a look at the fascinating music scene created in Venezuela in the 1970s, a stunning blend of Funk, Latin Rock, European electronic experimentalism, Jazz and more! Venezuela during the 1970s was both a modern cultural and economic powerhouse in Latin America, rich from vast oil supplies. Situated at the northern part of South America, with neighbouring Colombia to its west, Brazil to its south and a north coast bordering the Caribbean. The country"s position and wealth led to an explosion in cultural activity during this time. Taking musical influences from all these surroundings as well as healthy doses of American musical sounds, the 1970s saw the evolution of a new generation of creative Venezuelan artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of creating a stunning "melting pot" mix of underground rock, synthetic electronics, funk, jazz and Latin American while simultaneously exploring their links with Venezuelan roots music, creating a new sound.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

The Hacker teams up with Rein for ‘We Come Alive’ on Rekids. French producer The Hacker joins forces with vocalist, songwriter, and producer Rein for ‘We Come Alive’ on Rekids, arriving 19th June 2026. A longstanding figure within the underground, The Hacker helped shape the early electroclash movement through his analogue-heavy sound and influential releases on labels including Turbo Recordings and Dark Entries, while Rein has built an international reputation through a darkwave-influenced sound that blurs underground and crossover electronics, alongside releases on Boysnoize Records and live appearances with Front 242 and Nitzer Ebb.

Built as a tribute to the dance floor “We Come Alive” explores the feeling of liberation and connection that only exists late at night. Think an Alison Moyet-inspired vocal over stripped-back machine funk somewhere between LFO and Kraftwerk.” - The Hacker & Rein

The Hacker & Rein’s ‘We Come Alive’ pairs sharp, angular rhythms with punishing low-end pressure as acid lines twist through scintillating percussion and jacked-up drums. Amid the machine-heavy intensity, Rein’s vocals cut through the mix with clarity and emotion, lending a euphoric edge to the track’s raw, strobe-lit energy.

RAWAX presents Basic Bastard aka Orlando Voorn!
Another great release from the dutch Legend, who teamed up on two tracks with Will B & Barksdale They delieverd here an beautiful hommage to Detroit. Worth to check!

2026 Repress!

***
be on the watch.
there are ways out.
there is light somewhere.
***

Following in the steps of last year's mysterious "Beyond the Garage" 12 inch, L.I.E.S. throws another curveball with a 30 track continuous LP from veteran West Coast producers, Vinny+Charlie. Each side running 20 minutes, this can best be described as a smoked out, haze filled afterparty beat tape on wax. Obscure samples, dusty sp-12 crushed beats, head nodding loops, sweet low rider soul..chopped, sped up, slowed down and ready to wreck your system. Limited edition white label housed in a lp jacket with custom art by LA artist SOB STORY. 300 copies worldwide.

Portal Replica welcomes cult Australian duo, B(if)tek, onto the label with a first-time-on-vinyl release of their debut album ‘Sub-vocal Theme Park’ released in 1996 exclusively onto CD. The 2x12” release includes the original album, plus additional never-heard-before 'lost' tracks from the pair. The album has been mastered by Rashad Becker at Clunk Studios (DE) and pressed to 180g heavyweight vinyl.

Kate Crawford and Nicole Skelty’s pioneering electro-femme outfit ‘B(if)tek’ can be traced back to 1994 in Canberra, where lack of blueprint blossomed their playful and bizarre experimentations in techno — ‘feminism with a wink and a bleep’. Thirty years on, the uniqueness and ingenuity of B(if)tek’s deep analogue exploration endures.

“Monstrous clowns dressed as princes whose role is to laugh at themselves and entertain outlandish beings, suffocated by etiquette, conspiracy and lies, bound by confession and remorse … and beyond that, the auto-da-fe and silence.” – Ferdinand (Pierrot), from the film “Pierrot Le Fou” .

Photography by Kate Crawford.
Design by Jesse Sappell.
Mastered by Rashad Becker at Clunk Studios, DE.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Dr. Caligari was notoriously out of his mind — a genius fixated on experiments and a former lecturer at the Department of Experimental Phonetics. His students, Spacelunch included, spoke of him with cautious admiration: “Too smart to be normal; too bold to stop.” His laboratory looked like a hand-welded cosmos: cables everywhere, diodes, and the soft hiss of electricity.

“What’s that?” Spacelunch nodded toward the large glass dome.
“My new invention that allows sound to become tangible. Care to take a look?”

The Professor and Cat carefully stepped inside.

“You’re about to be the first to witness the voice of space!”
“Hey, we didn’t sign up for this!”
“Doesn’t that make the experiment more interesting?”

Caligari smiled and turned a dial. Their bodies stretched like strands of pasta and vanished. An instant later, they found themselves in another dimension: towers of transistors and coils rose into the sky, the air thrummed with low-frequency oscillations, and every flash of light carried the rhythm of a sonic lattice. Almost at once, the image wavered like old film, went black, and then snapped back to the laboratory. Caligari sat at the console, eyes fixed on the monitors. “It worked,” he whispered. “Perfect phase alignment!”

Berlin-based producer and DJ Benjamin Fröhlich returns to his own Pleasure Principle imprint with the long-awaited vinyl edition of The Muv It EP -
Rooted in dusty, dubby house music and inspired by the open spaces and raw energy of a recent desert trip, the EP channels warmth and groove in equal measure. The title track Muv It sits at the heart of the release - a driving, hypnotic floor-burner that showcases Fröhlich's instinctive feel for rhythm and texture.
Alongside it, Get Up raises the energy further, bringing a higher-octane dancefloor urgency to the EP's middle section. Its dub counterpart Get Dub then strips things back - a spacious, reverb-drenched variation that lets the groove breathe and reveals the track's deeper, more meditative side.

The vinyl edition comes with an exclusive bonus track: Gruv It - a stripped-down, atmospheric rework of Muv It that trades hands up moments against a hypnotic rolling vibe.

Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.

Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.

The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.

2026 Repress

Nørbak is back on HAYES with Passo Lento, five sparse, Orwellian exercises with concrete percussion and a soul-stirring, atonal approach to melody.

The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.

The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.

"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)

The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.

The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony

Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg

Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.

REPRESSED !
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960's in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.

In 1983, 'Dance It Down/Jamaica Running' 12' EP was released on Moment Productions. Based on response from D.J.'s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of 'Dance It Down' came out of the studio as 'Dance In Dub', with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we've added two bonus European remixes from the 1984 12' of 'Dance It Down/Jamaica Running', released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.

This is a bit of a rare gem from the Ellis Dee. Back in 1995 he made the track 'Synthetic Disco' but for some unknown reason (I'll have to ask him and let you know) it was never released and remained a mystical track lost in time. The flipside 'Atmosphere' was only released as part of the Total Science 2 compilation that came out in 1996. Both tracks compliment each other beautifully and are both very much on a similar tip to his Norty But Nice 12" that we put out a few years ago. Deep but rolling drum and bass for the massive!

Bristol-born, London-based DJ, producer, trailblazer and label head, Conducta announces his brand new EP, SOUNDBOY JOHNNY slated to drop on the 29th May via Up Ya Archives Records.

The new single sees Conducta link up with one of Jamaica’s most original and exciting artists, for a high-tempo cut that channels UK breakbeats into a bassy club roller. Built around an irresistible hook that sticks, ‘Low Can U Go’ sets the tone for the wider project, with BLVK H3RO’s vocal collaboration bringing a fresh edge to accompany the raw, driving intensity Conducta is known for.

The EP, SOUNDBOY JOHNNY sees Conducta lean further into the sounds shaping his recent DJ sets, channelling his long-standing love of jungle and breakbeat into a focused body of work. Across the project, he experiments with faster tempos and chopped breaks, stepping into new territory as a producer. As his first solo release of the year, it marks a confident return with a clear sense of direction, underlining his versatility across different sonic spaces.

Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.

Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.

Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”

Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.

The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.

“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”

Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”

Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.

Rhythms of postmodern realism at the very bottom of the DNO.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

A little over a year ago Tim Reaper made his first appearance in the town LoDubs is based in, Portland, Oregon, at the always forward thinking westside venue Barn Radio. The bill was rounded out by yours truly, Jon AD, who set the standard for the night, which was a boggy, thick warehouse vibe, even though the venue was more of a tightly packed repurposed storefront with an overactive fog machine.

This stop turned into a bit of a several day stopover for the TR, who saw the town, met up with other Portland people, and after that was left with a bit of a aural vision of the whole experience, the DIY ethos of the Portland, and the desire to document these impressions on the label of his bill mate for the aforementioned night, LoDubs.

Shortly thereafter "Triumphant March" arrived at the LoDubs mailbox, and reverb heavy, oozing slab of Jungle funkiness.

Upon realizing this would be good material for a dubby remix, the next step was reaching out for people to do so, and Beatrice M was at that time really getting noticed with their take on Dub. This year has seen them really move up the ranks, needless to say.

Sloy Gange...A dusty new band that plays deep and slow instrumental grooves inspired by the legendary SP-1200 drum machine.

Nonna Fab returns with the third release on his imprint, Movement and Soul Records, with a 5 track club-focussed EP 'Journey To The Outer Atmosphere'.

Following the success of his last release, we see a deeper dive into the more dance-floor orientated sound that Nonna is curating, spanning deeper soulful house across the release with influences of broken beat, jazz and percussive dance music.

The opening track 'Dawn Chorus' is a trip into a more natural soundscape and deeper arrangement of sound. A perfect track to take a steady dance-floor to higher heights.
The A2, 'Low Winter Sun', aptly named deep house music with no frills. Proper sub-bass tuned for tuned-up soundsystem use.
'Meditations' which is the final track on the A side has clear broken beat influences, percussive, deep and rhythmic. A breather for the dance floor.

The title track of the EP, 'Journey to The Outer Atmosphere' is a big peak time house journey to the cosmos. Expansive synths, 909 kit and if timed well, certified to blow the dance floor up. Clear François K inspiration here.
The final track of the release, 'First Light', is proper deep house music named suitably for an early sun rise roller with a huge hammond organ solo, enough to keep the leavers in the building.

With great pleasure we welcome on board ADSR. This is not a standard EP but more a collection of 5 tracks made in the years between 1989 and 2001.

“Kicked” (1989) rides a driving dance groove with subtle Depeche Mode–influenced melodies, fueled by rolling arps and crisp string plucks. “Unit 3” (2001) hits with tough basslines and hard pads over a relentless beat, nodding to mid-80s EBM in the vein of Nitzer Ebb, Skinny Puppy, and Front 242. “Unchained” (1990) drifts on a late-night 808 groove with glassy pads and house-leaning chord stabs, sliding into early techno territory.

The EP closes with two well known tracks but those versions of them have never seen the light before today. “Windswept (Desert Mix)” – 1994 is a pounding early-session track built on tripped-out SH-101 leads, evolving arpeggios, long sweeps, and a steady 909, made for getting completely lost in.“Suboceana (Early Version)” – 1991 serves seductive chord progressions and drawn-out, reflective melodies, a liquid journey for both listening and the dancefloor.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!

Inspiral Carpets announce Burn Like The Sun - their first studio album in 12 years. The album marks a major new chapter for Inspiral Carpets following a period shaped by loss, reflection and renewal. An extended hiatus left the future of the band uncertain, and the return to writing and recording became something deeper than simply making another record. What emerged is an album rooted in endurance, connection, and forward motion. At the centre of that story is the return of original frontman Stephen Holt, whose rejoining of the band reconnected Inspiral Carpets with their earliest creative identity while opening the door to an entirely new era. Rather than revisiting the past, the band approached Burn Like The Sun determined to create something fresh, relevant and emotionally honest - a record that acknowledges their history without being defined by it.

Inspiral Carpets announce Burn Like The Sun - their first studio album in 12 years. The album marks a major new chapter for Inspiral Carpets following a period shaped by loss, reflection and renewal. An extended hiatus left the future of the band uncertain, and the return to writing and recording became something deeper than simply making another record. What emerged is an album rooted in endurance, connection, and forward motion. At the centre of that story is the return of original frontman Stephen Holt, whose rejoining of the band reconnected Inspiral Carpets with their earliest creative identity while opening the door to an entirely new era. Rather than revisiting the past, the band approached Burn Like The Sun determined to create something fresh, relevant and emotionally honest - a record that acknowledges their history without being defined by it.

Inspiral Carpets announce Burn Like The Sun - their first studio album in 12 years. The album marks a major new chapter for Inspiral Carpets following a period shaped by loss, reflection and renewal. An extended hiatus left the future of the band uncertain, and the return to writing and recording became something deeper than simply making another record. What emerged is an album rooted in endurance, connection, and forward motion. At the centre of that story is the return of original frontman Stephen Holt, whose rejoining of the band reconnected Inspiral Carpets with their earliest creative identity while opening the door to an entirely new era. Rather than revisiting the past, the band approached Burn Like The Sun determined to create something fresh, relevant and emotionally honest - a record that acknowledges their history without being defined by it.

oom 318 Productions and Laced Records are stepping into the fog to bring Akira Yamaoka’s score for the 2026 motion picture, Return to Silent Hill, to vinyl.
 
This 2LP features 29 specially remastered tracks carefully curated by series composer and executive producer, Akira Yamaoka, to capture the key themes of love, loss, guilt and obsession from Return to Silent Hill and the SILENT HILL 2 video game on which the film is based.
  
Yamaoka’s musical signature has been an integral part of the series since the first note of the original video game. His work for Return to Silent Hill marks his third time writing music for a motion picture set in the SILENT HILL universe, but this time he returns as the sole composer.

The score for the motion picture was guided by three guiding principles he’s developed while working on SILENT HILL scores – to “not decide music through emotions,” an aspiration to “blur the boundary between music and environmental sound, between reality and the inner world,” and finally, to “not reject beauty.”

“The horror of SILENT HILL is not merely unpleasant or violent. There is always something fragile, human, and irretrievably beautiful mixed within it. Refusing to deny that has remained unchanged since the beginning,” Yamaoka explains.

Working closely with director Christophe Gans, Yamaoka built the score piece by piece to extract the underlying sensibility of the world of SILENT HILL 2 and reconstruct it into music that can stand on its own as a film score. Series veterans will recognize iconic cues from the video games that have been reimagined in tracks such as “Chasing Laura” and “Brookhaven Hospital”.

“The goal was never to replay the game’s music as it was,” Yamaoka explains. “Instead, the challenge was to reinterpret it—to alter its meaning, its distance, and its placement—so it could breathe within the film’s sense of time, imagery, and the inner lives of the characters. It was not a quotation, but a reimagining.”

Whether you consider yourself a master of survival horror or this is your first time stepping into the fog of SILENT HILL, the Return to Silent Hill Original Motion Picture Soundtrack is a melting pot of distorted sounds and jagged textures unified by a single sensation: unstable, murky, and yet somehow beautiful.

© 2026 Room 318 Productions, Inc.

Mit "Consume" erweitern The Joy Hotel ihr musikalisches Universum.

Die für den SAY Award nominierte Glasgower Band The Joy Hotel veröffentlicht ihr zweites Album "Consume" (SO Recordings). Mit dem Nachfolger ihres von der Kritik gefeierten Debüts "Ceremony", das auf der Shortlist für den "Scottish Album of the Year Award 2025" stand, führt die Band ihren weitläufigen, cineastischen Sound in ungewöhnliche und dringliche Gefilde. Das Album setzt sich mit der endlosen Flut an Informationen, Ablenkungen und digitalem Konsum auseinander, die das moderne Leben prägen. Dabei werden Themen wie Liebeskummer, Nostalgie, Panikattacken, Ambitionen und das Ringen um Hoffnung in einer zunehmend gleichgültigen Welt behandelt. Musikalisch bewegen sich The Joy Hotel im Spannungsfeld zwischen Psychedelic Rock, Folk, Indie und cineastischem Alternative. Vielschichtige Harmonien, Call-and-Response-Gesang sowie eine stetig wachsende Palette an Gitarren, Keyboards und Rhythmus-Sektionen erzeugen einen Sound, der sich zugleich intim und gewaltig anfühlt.

Auf ihrem zweiten Album ,Breaking and Entering" legt GracieHorse mit ihrer direkten, unverblümten Art, Geschichten zu erzählen, noch eine Schippe drauf - mit Songs, die die Details gut geschriebener Kurzgeschichten enthalten und Country, Soul, Americana und Rock nahtlos miteinander verbinden. Die weitläufige, detailreiche Produktion des Indie-Visionärs Chris Cohen unterstreicht GracieHorses Gesang mit einem gewitterten Charme, der diese neun Songs erst richtig zur Geltung bringt.

Auf ihrem zweiten Album Breaking and Entering" legt GracieHorse mit ihrer direkten, unverblümten Art, Geschichten zu erzählen, noch eine Schippe drauf mit Songs, die die Details gut geschriebener Kurzgeschichten enthalten und Country, Soul, Americana und Rock nahtlos miteinander verbinden. Die weitläufige, detailreiche Produktion des Indie-Visionärs Chris Cohen unterstreicht GracieHorses Gesang mit einem gewitterten Charme, der diese neun Songs erst richtig zur Geltung bringt.

On this recording, one can hear both resolve and farewell. Just before departing for the United States, Masabumi Kikuchi pours himself into these now-legendary compositions.

Gifted with a singular artistic voice and a keen sense of his time, Masabumi Kikuchi established himself as a pianist of international stature. In 1973, he relocated his base of operations to New York. Recorded immediately before that move, End For The Beginning captures a studio live performance held in front of invited fans, documenting a pivotal moment in his career.

During this period, Kikuchi was exploring innovative sounds through the use of electric instruments and unconventional ensembles. Yet on this album, he returned to a more traditional format: a two-horn frontline backed by a piano trio. The program consists entirely of five original compositions by Kikuchi himself.

The determination surrounding his imminent departure fuels the music's intensity, while the sense of farewell evokes a distinctly Japanese emotional depth. Masterpieces such as “Shuuu”, “GinKai”, and “Green Dance” emerge like waves from beyond an atmosphere charged with tension and anticipation. Each performance unfolds with remarkable focus, lyricism, and power.

A work of striking conviction and emotional resonance, End For The Beginning stands as one of the defining achievements of Kikuchi's career and a fitting summation of his artistic vision.

Turkey’s first stereo LP. A foundational recording of Anatolian psychedelia. Audio transferred from the original analog master tapes, mastered and lacquer cut by Frank Merritt at The Carvery, London, and pressed on 180g heavyweight black vinyl at Record Industry in the Netherlands.

Released by the legendary Yonca Müzik label in 1973 as Turkey’s first stereo LP, Türküz Türkü Çağırırız! now returns as the first official reissue. The album captures Mazhar Alanson and Fuat Güner at a pivotal moment before their later success with MFÖ, one of Turkish pop-rock’s most influential and enduring groups.

Mazhar and Fuat first met in 1966 through a shared love of The Beatles’ Rubber Soul. Inspired by the close vocal harmonies of The Beatles and Crosby, Stills & Nash, they initially believed this music could only work in English. Producer Ergin Bener encouraged them to develop their own musical language in Turkish.

Previously members of Kaygısızlar, the pioneering group that accompanied Barış Manço, Mazhar and Fuat explored a more intimate Turkish folk-rock sound on this album. Zafer Dilek’s arrangements bring his distinctive guitar and keyboard work to a recording in which acoustic guitars, organ and electric guitar touches frame Anatolian melodies. Country-rock influences and the English-language “Upside Down” add to its range.

The title roughly translates as “We are Turks, and we sing Turkish folk songs” — reflecting a search for a new, distinctly Turkish musical identity. The album draws on works by Âşık Veysel, a defining voice of Turkish folk poetry, and Yunus Emre, the great Anatolian Sufi poet.

“Adımız Miskindir Bizim” was sampled on Action Bronson’s “Easy Rider,” while Stones Throw producer Oh No sampled “Sür Efem Atını.”

Jungle by Night Speaks Out on their latest full length album, Bar Dancing: An Ode to Friendship, the Dance Floor, and the Voice

Since their teenage years, the Amsterdam-based groove collective Jungle by Night has been conquering music venues and festivals with their ever-expanding mix of styles—krautrock, nu-disco, electro-pop. After six largely instrumental studio albums, the group—now consisting of six musicians—changes course on their seventh long-player. On Bar Dancing, set for release in early 2027 via the Amsterdam-based Rush Hour label, the band does something they have never done before: they sing.

Where brass, percussion, and synths previously told the stories, lyrics and vocals now demand their space as well. It gives the band room to put words to the topics that occupy their minds: the pitfalls of digital addiction, the dark sides of fake news, toxic masculinity, and the connection they experience while touring together.

The title Bar Dancing captures the essence of the album. It is an ode to friendship, connection, and the night. The record radiates the atmosphere of a pub where you sit at the bar discussing life, only to find yourself dancing in that very same bar moments later. Analog and warmly produced, the album builds on influences from '80s pop, krautrock, and Neue Deutsche Welle. Think of the playfulness of Talking Heads, the dub influences of UB40, the electronic layers of Air, and the tight "computer love" of Kraftwerk.

Band member Hy Tienson explains: "For the first time, we are literally giving a voice to our thoughts. It makes the music more personal, more direct, and more layered, without losing that signature, uplifting Jungle groove."

With Bar Dancing, Jungle by Night delivers an album that invites both listening and dancing. It marks a new phase for the band, taking another step forward with a renewed sound and their own lyrics.