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Open Mike Eagle might not have all the answers, but few in life ask smarter questions.

Recorded in London with producer Paul White, Hella Personal Film Festival artfully dissects modern life's banalities and perils. Continuing where his 2014 Dark Comedy left off, it blends whimsical anxiety, social media addiction, and scorn. Known for collaborations with artists like Danny Brown and Mos Def, Eagle and White create tense, emotionally rich anthems that capture the disorientation of daily life and examine societal double standards and casual bigotry.

Mood Child Presents ‘Various Moods Vol. 4’: Six Multi-Mood Tracks from Nick Curly, Joey Daniel, Wilder (ITA), and more

Mood Child, the forward-thinking label helmed by Sirus Hood and Manda Moor, proudly unveils Various Moods Vol. 4, a striking album of six genre-blending tracks that each bring a unique sonic perspective. Set for release on both vinyl and digital formats, this carefully curated collection showcases the label’s signature commitment to innovation, groove, and dancefloor energy.

Side A leans into classy, funky house vibes, while Side B ventures into wilder, tech-driven territory, offering a versatile listening experience for both crate diggers and peak-time DJs.

The compilation marks the return of German house icon Nick Curly, Italian heavy-hitters Wilder (ITA) and Mattia Scolaro, and rising Brazilian talents Las Heras and ROKKE, who teamed up with RAMOOX for a potent collaboration. Mood Child is also thrilled to welcome Dutch maestro Joey Daniel to the label for the first time.

DJ support from - Hector Romero, Marco Lys, Mousse T, Sam Divine, Vintage Culture, Ferreck Dawn, Mat.Joe, Claptone, Joseph Capriati, Claude VonStoke, Dennis Cruz, Huxley, Mark Knight, Format:B, Nic Fanciulli.

Riva Starr presents his fifth album 'Keep Me On The Dancefloor' on Snatch! Records.
An opportunity to demonstrate his growth as a producer and as an artist, the album showcases an unexpected Riva Starr sound – one that explores a fresh creative approach, focussing on songwriting, collaboration, and telling stories that are firmly rooted on the dancefloor.

Featuring collaborations with Chromeo, Flight Facilities, Harry Stone and more.
'The album was entirely crafted through writing sessions with talented musicians, writers, and singers. This approach brings something unique, as being in the room with other creatives adds an extra layer of creativity and depth, enhancing the production quality. Most of the tracks came together quickly, thanks to the incredible vibe and chemistry in the studio. Sometimes, the process needed a bit of back and forth and more than one session to perfect.' – Riva Starr

Fusing sounds that represent different eras of Riva’s career, 'Keep Me On The Dancefloor' wistfully and effortlessly glides between disco, funk, soul, filtered house, and even the guitar licks of classic rock; a sum of his career to date, it is a body of work that focusses on amplifying the positive moments, memories, and experiences that can only be found in music. Exploring what it means to connect with someone in the moment; a celebration of losing your inhibitions to the music and finding yourself completely in sync with someone you’ve only just met.

Charged with storytelling and heartfelt lyrics, his most personal work to date is the result of a considered approach to making music, one of collaboration with one foot still on the dancefloor, and the other firmly in the studio guiding an array of talent to build something unique with him. Moving away from the DJ-friendly cuts that have underpinned much of Starr’s career, the fifteen tracks on 'Keep Me On The Dancefloor' are much deeper. With singer Harry Stone providing catchy toplines and infectious vocals across at least half of the album, there is a clear maturity on display at every level.

Additional features come from electro-funk duo Chromeo on the irresistibly groovy 'I Was Lost', and Prince-esque vocals from Nic Hanson on '(I’ll Be Your) Paradise'. 'Know You Love Me' – the laid-back, sun-kissed cut with Flight Facilities – compliments the melancholy vocals of Biishop on “Wildfire” and the disco-infused 'It Feels Much Better' with Harry Stone.

Music is a tonic for the soul, but it feels much better with someone else.

A pioneering force in African music, Jo Tongo has always been on top of the game. Since the late 60s he has been recording music under his early Jojo L'Explosif moniker. His debut album "Jo Tongo" was released 1976 on Fiesta/Decca and features classic tracks like Jangolo and Piani. Now, after decades of underground influence and global recognition, his second album Sa Discossa (1980) is re-released for the first time. Being an electrifying fusion of African rhythms, disco, makossa, reggae and funk it is reflecting his lifelong journey of musical exploration and cultural storytelling and claims its place as an essential recording in the Afro-disco movement.
Jo Tongo's music is inseparable from his life's story-a journey that spans continents, struggles, and victories. From his early years as a leading African musician before the global rise of Afrobeat, to his deep roots in classical training, and his time performing in France and Germany, his sound is shaped by a rich blend of influences. Having played in bands across Europe, from American military bases in Germany to the jazz and soul circuits of Paris, he absorbed the pulse of multiple musical worlds, creating a sound uniquely his own.
"My music is my life. I never saw it as a way to become a star-I am a simple man," Tongo explains. "I came into music to say something, to tell about life, to share my experiences with the world." His perspective on fame and artistry is deeply rooted in his Cameroonian background. "I wasn't interested in business. I wanted to build something with music, to create a sound that was mine."
But Jo Tongo's music has always carried a deeper message. His work reflects his strong political stance against colonialism, social injustice, and oppression. "I cannot stay silent while my people suffer," he says. "Music is a way to resist, to stand strong, and to remind people of their dignity and their power." Throughout his career, Tongo has used his platform to advocate for African identity and independence. His songs, layered with messages of social consciousness, have continued to resonate with younger generations who recognize the relevance of his words even today.
Sa Discossa is more than just a disco record. It embodies Jo Tongo's philosophy of resistance, identity, and celebration. The title itself is a blend of "disco" and "makossa," reflecting the seamless fusion of African groove and the dancefloor energy that defined the era. Tracks like Bunya, sung in his native language, carry messages of love, gratitude, and resilience-sentiments that remain as relevant today as they were nearly 50 years ago. As Tongo describes it, "Every day, give thanks and praise to your Lord. Every day, show me your love. Every day, let me show you my tender love."
Tongo's musical journey also took him through the world of reggae, inspired by his exposure to American and Caribbean artists. "At first, I didn't like reggae-it was too slow for me," he admits. "But then I heard Bob Marley, and I realized the power in its simplicity. The rhythm, the
message-it was all connected to something bigger." He later found himself embracing reggae as an essential part of his musical DNA. "I realized that my music and reggae shared the same roots. We are all connected, all telling the same story in different ways."
Having spent much of his career performing across Europe, Jo Tongo reflects on his connection with international audiences. "I've played everywhere-from Africa to Germany, from Paris to other cities in France and what I've learned is that music speaks a universal language. You don't need to know the words to feel the message."
Despite taking a step back from the stage in recent years, he remains open to new possibilities. "Music is like a fire-it never truly dies. I have a lot to say, and music is the best way to say it."
For Jo Tongo, music is more than entertainment-it's a language of truth, a testament to history, and a bridge between cultures. The rhythm of Sa Discossa lives on, stronger than ever. With Sa Discossa returning under the African Edge series on The Outer Edge label, Jo Tongo's legacy continues to resonate, proving that real music never fades.

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

LPV makes a striking debut on Monnom Black with an expansive double EP, delivering eight meticulously crafted tracks that fuse dub, bleep, and bass into peak-time weapons. His release showcases a dynamic range, from intense, Basic Channel-inspired dub techno workouts to deeper, bleep-laced techno grooves that weave hypnotic precision with relentless drive. Each track is a versatile cut, crafted for special moments, blending atmospheric depth with pure momentum, cementing LPV's arrival as a formidable force.

This Convertion single is a mandatory staple in anyone’s disco, boogie record collection. A true timeless classic from the SAM Record label out of New York City.

“Let’s Do It” was a paradise garage anthem regularly played by Larry Levan and every other disc jockey upon released in 1980. Featuring the legend that is Leroy Burgess on lead vocals with production by Greg Carmichael. On the flip is a gorgeous track by “All I Want Is You” (Four Flights).

Originally released as a 12” the 7-inch version was only ever released on styrene vinyl until now. Remastered by Phil Kinrade and presented in a 7” Discobag sleeve and now officially released in full coordination with SAM Records.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Limited Vinyl Box Set including 6x olive 12” vinyl & download code

Cocoon Recordings presents: Cocoon Compilation V

Back for the summer season, Cocoon Recordings proudly unveils the next chapter in its iconic compilation series. With its 22nd edition, Cocoon Compilation V once again bridges past and future, showcasing the essence of electronic music’s constant evolution. True to the spirit of the label, this handpicked collection delivers a diverse, emotional, and forward-thinking selection that drifts through shimmering currents, pulsating machinery, and moments of pure release.

Delenz & Zeitstill set the tone with “Place To Be”, a smooth and warm opener that invites the listener into a meditative microcosm. What starts as dreamy minimalism steadily unfolds into deep, shimmering depth. A sublime invitation to get lost in sound. Superpitcher takes us further into the mist with “Dream B”, an ethereal and cinematic dreamscape that floats between melancholy and magic. Its stretched textures and hypnotic pacing form a gentle passage into inner space.

The energy intensifies with Patrice Bäumel’s “Nat”, a sophisticated tension-builder with a subtle pulse and haunting atmospheres. Sound waves that breathe, evolve, and subtly command movement. Sawlin switches gears with “Der Jasager”, a deep technoid beast that hits with low-end pressure, modulated percussions, and gritty textures and spooky features. Raw, physical, and unrelenting.

A bright contrast comes from DC Salas and his track “Escapism.” Psychedelic, synth-heavy, and effortlessly groovy, it channels the playful side of electronic storytelling. It channels a trancy 90s flair with its vibrant energy, brilliant use of choir bits, and irresistible vibe that transports you back to a golden era. With Tal Fussman’s “Eyes”, we’re taken into euphoric territory. This stomper is a conversation between piano and strings, rising above crisp grooves, weaving emotion and momentum with finesse.

On the second half of the journey, legendary Ken Ishii teams up with Yuada to deliver “Split Second,” a bold, wild and crazy techno excursion full of mechanical grace and Japanese precision. An ode to organized chaos. Marcel Fengler’s “Aura” follows, powerful and deep, pushing air like an engine through tunnels of tension and light. The blend of rhythm and sentiments is a masterclass in functional elegance and states of mind.

Impérieux brings us “Kala,” a track both twisted and beautiful. Its detuned hypnotic melodies and skewed harmonics are unsettling in the best way while the unconventional rhythms cloak the entire track in a mysterious aura. It creaks and twists toward transcendence, underscored by primordial flute sounds. A fractured lullaby for the club. Joe Metzenmacher injects wildness and attitude into the mix with “Da Freak.” Fuzzy, distorted synths collide with a funky bassline, sharp guitar stabs, and mad bleep effects, bringing the raw groove and dancefloor chaos of a bygone funk era into a futuristic setting.

Joseph Capriati debuts on Cocoon with “Cosmopop” and surprises with an unexpected stylistic shift. Capriati explores a more melodic, emotionally driven sound. Subtle harmonies meet a warm, rolling groove. It’s a bold and personal statement, showing a new side of an artist who continues to evolve beyond expectations. To close, Matthias Schildger offers “Distorter,” a raw and emotional cut that leaves room to breathe while keeping the mind spinning. It begins with beautiful pads, before distorted kicks drop in, yet the track retains a certain tenderness, like the feeling of sitting at a tranquil, untouched nature spot, surrounded by the beauty of the world. A grand finale to a compilation that refuses to settle.

From sunrise moments to peak-time madness, Cocoon Compilation V captures the full spectrum of what dance music can be. Transcendent, visceral and endlessly evolving. This isn’t just a collection of tracks. It’s a curated experience for the body, the mind and the soul.

Recent years have seen Berlin-based artist OST Fox carve out his own sound and steadily gain traction as a producer and live act through a number of self-released projects, including his debut ‘Seulement à Marseille’ album, among others.

Here the OST Fox story continues, once again seeing the artist returning to the album format with twelve new original cuts. Throughout the project OST Fox explores a variety of styles from cinematic old school leaning trance sounds, through to electro, early rave music and the foundational Detroit Techno sound, henceforth the project found its apt title, ‘Soul Techno’, and radiantly showcases the producer’s depth, variety and prolificity in the studio.

Step into the time machine and relive the euphoric era of the ‘90s with this exclusive anniversary vinyl release from legendary Belgian dance group Atlantis 6. Celebrating 25 years of hits, this compilation brings together the very best of their energetic and legendary dance sound.

Crafted by top producer Peter Bellaert and powered by the captivating vocals of leading lady Els Mortelmans and creative voice-over Michel Orthier, each track is a reminder of the era when dance & trance from Belgium ruled the dancefloor, shaping a generation.

Pressed on Belgian vinyl and featuring full-length versions, this release is a dream for both DJs and collectors alike. Whether you're spinning it in a set or enjoying it at home, the energy you will feel is timeless.
Only 500 copies available – own a piece of dance music history before it’s gone.

It’s been a journey, but thanks to the guys at Universal Music we are very grateful and privileged to bring you this fine piece of modern soul music on vinyl.

Both tracks, on the 7-inch, are taken from the MP3 only 2020 album “Vintage R&B”.
It’s an Anglo-Swedish affair, delivered to you by Swedish songwriters, composers and musicians, Henrik Wikstrom and Anders Lewen, together with UK producer Andrew Stannard.

Side A “Time to Make A Change”, features in Episode One of the 2023 BBC documentary “Fight the Power – How Hip Hop Changed the World”. A track to surely get the dancefloor moving.
After some deliberation of which track to include as a Side B, it was decided as a “Thank you” gesture to invite Universal Music to pick the song of their choice from the MP3 album. “Good, Good Feeling” was the proposal, a song title that is reflected in the composition.

The top side, with its driving beat and the strong vocal ability of Liverpudlian Tommy Blaize, is reminiscent of a Motown track at the peak of its popularity. After listening to the lyrics, it is understandable why this track was used in a “Civil rights” segment within a documentary. A timeless message that can be applied to many social and personal life situations. Listen to the tight musical arrangement. These guys know what they are doing. A track that will surely even get my ageing hips loosened up for the dancefloor. Don’t be tricked by the “paused” ending, a wonderful touch!

The title of the flip side, “Good, good feeling” is exactly that……… A “good feeling” song. Here, the tempo is lowered slightly and the sixties vibe here also leads to a more mainstream direction compared to the A side. Those floaty soulful tones from the UK’s Louise Marshall are very pleasant to the ears, lifting your spirits on any day of the week. Like the A side, get your earlobes in to that musical arrangement. There was no holding back with the broadness of musical instruments in the studio and I especially like the sound of the flute happily skipping throughout. Overall, an enjoyable easy listen.

Small Great Things boss Luca Olivotto is back on his own imprint with the four track ‘It’s Too Dark’ EP.

In recent years, Italy via Berlin artist Luca Olivotto has been etching his mark on the underground House scene through his labels Small Great Things, Endless Music and recently minted At A Glance, as well as his Small Great House events series. Here the story continues with a fresh collection of works from the prominent House producer and DJ.

Opening is title-track ‘It’s Too Dark’, a six minute excursion through bright piano keys, swinging drums, soulful vocal stylings and a bumpy bass hook. ‘It’s Over’ follows and dives into deeper House territory with warm strings, organ stabs, and choppy subs intertwined with crisp drums, soft Rhodes and cut up vocals.

Opening the flip-side is ‘I Found You’, upping the energy levels again with a high energy melodic drive, hypnotic vocal lines and heavily shuffled drums. ‘See Thru’ then concludes the release and leans into a more Disco-tinged House realm with intertwined funk samples, sweeping filter work and intricately processed vocal chants running atop a sturdy rhythmic foundation.

James Shinra presents Shinra Electro Company Vol 1, a collection of dancefloor electro tracks showcasing a tougher, more bassy side to his sound. Lead track Poppin has had heavy support from Bicep, including featuring in their Coachella 2024 set.

For his second output on his own label, the Swiss electronic composer Robin Félix, takes this time the listener to West-Africa ; that said, Incantation is lightyears away from “world music”, but closer to the first “Fourth World” LP Jon Hassell recorded with Brian Eno. Moreover, Robin has teamed up with fellow Swiss sculptor, Christian Pauchon, who makes “woodoorina”, inspired by “bolis”, some rather objects used by the Bamanas in Mali and neighbouring countries, that ethnologists view as “fascinating mediators between man and his environment” ; a topic that led the Mauritanian Abderrahmane Sissako and Damon Albarn to compose the opera, The Theft of the Boli. Right from the outset of Goat Skin, one realises that Robin has applied his idiosyncratic way of (mis)treating field-recordings, to dissect and re-model an array of woodoorina calls (sometimes close to drones) entwined to a rhythmic pulse, conjuring up a starry night under which a shaman, adresses his incantations to the spirits of Nature. Robin Félix being who he is, as soon as Corten, his form of quiet electronics show that he is no stranger to Throbbing Gristle or Cosey Fanni Tutti, the self-explanatory Ritual Smoke taking it a little further. The spellbinding organic basses of Rains and Cauris, fused to textures that remind the experiments of David Toop and the electroacoustics of Pierre Henry, lead the listener even deeper into a contemporary avatar of a spiritual journey. In tune with the “call and response” mode, ubiquitous in African music, Pangi brings the EP even closer to the beating heart of the continent, the interactions of the sculptor and the composer blending to such a point that one may wonder if they have exchanged roles. As a meeting point of disciplines and art forms which are not supposed to meet, Incantation is also a convincing demonstration of what the word “inspiration” means, the superb visuals included ; of course, it requires a lot of finesse and respect on all sides

Following a string of huge sold out shows together, Sonny Fodera and Dom Dolla now team up for new single ‘Moving Blind’ via Sweat It Out / Solotoko.

Moving Blind weaves husky vocal hooks with elastic synth leads and bumping basslines, making for a hypnotic house groover destined to be heard in its natural club setting and intimate home dancefloors alike.

DJ Support :

Pete Tong, Mistajam, John Summit, Just Kiddin, Riva Starr, Sam Divine, Claptone, Biscits, Ferreck Dawn, Dombresky, Simon Dunmore, TCTS, Robosonic, Marco Carola, Andi Durrant, Joachim Garraud, Slipmatt, Paco Osuna, Fatboy Slim, MK, Riva Starr, Rudimental, and Richie Hawtin

SPF 50 aka Stephan Kimbel has been working the club circuit in NYC and abroad for years now. His approach to techno often incorporates breakbeats and a psychedelic attention to sound design details. He has released killer 12”s on Dzungla, Bliss Point, and his own label, Professional Music. Fixed Rhythms is now excited to present his latest 12” EP offering–”The Rush”.

The titular track, an acid breakbeat techno party starter for the heads, absolutely breaks down the door of the A-side. A2 “Deep Woods” descends into tasty, wiggly, spacious techno. B1 “Kinetic Ritual” is just that…you have arrived in the Zone, a dark corridor leading straight to One and Everyone. Then B2 “UV Got Me Faded” whips you wonky with a modular drumless wobble slap. This is well-crafted dance music that can plunge any crowd into the deep end.

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)

Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

Masterful producer Yuksek returns to RNT with the Deja Vous EP of all-original modern disco. She’s Mine leads with a rolling percussive beat and Italo baseline and layers emotive piano chords and plaintiff vocals, to hearken back to a nostalgic era of indie disco. On the flip side, the EP title track collab with Brazilian producer Diogo Strausz brings expected tropical flavor, and All Night feels a bit French-touchy with it’s infectious phase effected vocal loop. Accessible hooks and solid production, this is a handy one for the bag!