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“Ed Spinning” is straight 90’s hip-hop beats, pressed on 7"vinyl.
This project hits like the old party mixes: heavy looping beats, vocals that stick in your head, edits made for DJs back when digital wasn’t a thing (shoutout AV8 series).

For these two new volumes, Ugly Mac Beer is on the boards. Two tracks per side: vocal on the A-side, full instrumental on the B-side, plus drum loops dropping right from the jump. Raw boom bap, lo-fi heat, the way it used to be — for the real heads.

Titles and visuals nod to the BMW E30 and spinning: endless loops, burnouts, tires smoking, just like the beats blazing on the turntables.

“The beat has to follow the movement, never the fashion.”

(incl. Nina Simone, The Swiss, Greko Feat. Gosha, Toto , Nneka, Reflekt Feat. Delline Bass, Ragged Life & Julien Jabre) After the successful release of 12 Inch Lovers vinyl 1 & 2, a sequel was inevitable. Again 2 compilations with a fresh and contemporary mix of true classics combined with more recent, hard to find club hits.

On 27 March, fabric Originals presents Shō, a five track EP of introspective, transcendent electronics from Japanese techno icon DJ Nobu. Inspired by the Buddhist Brahmavihāras - joy, compassion, loving-kindness and equanimity - Shō unfolds as a meditative, emotional journey rooted in Nobu’s experiences of Tokyo, mindfulness and inner clarity. From kinetic renewal to serene minimalism, the EP channels presence, acceptance and the simple truth that breathing itself is living.

Each track on ‘Shō’ marks a step in an emotional and spiritual journey, channelling the foundational virtues of the Brahmavihāras, which are the four ‘Sublime States’ of Buddhist practice: ‘Muditā’ (joy), ‘Karuṇā’ (compassion), ‘Mettā’ (loving-kindness), and ‘Upekkhā’ (equanimity). Together these principles form a path towards an open, boundless heart, which is mirrored in the EP’s unfolding sonic narrative.

“In recent years I became overly sensitive to my surroundings and society, finding myself strongly affected by every daily occurrence. It was during this time that I discovered meditation. And beyond that lay Buddhism. Through this, my sensibilities became able to express themselves more naturally. I decided to portray my feelings, and the scenery in Tokyo, conveying what I was experiencing in real-time, as music.

The EP title ‘Shō’ denotes views, thoughts, and actions aligned with Buddhist truth, and encapsulates my striving for presence, clarity, and acceptance. It also represents the conscious, mindful understanding that simply breathing is living.” DJ Nobu

Disco Mind keeps the vibes flowing in the New Year with this delicious new collaboration with fellow Italian label Polyamore Artists. It's an extravagant collision of Afro, disco and house styles from Leslie Lello and Paul Older. 'African Layers' opens with rich percussion and organic grooves that bring the heat, then 'Acid Bass' has a more synth-driven sound and electronic edge, but with retro disco motifs. 'There's Light' is a chugger that keeps the pressure on with slapping hits and drum rolls, and 'Winners' then cuts loose with a more sentinel sound full of roomy chords and loved-up whimsy. Useful stuff.

Born 2 Be Free celebrates the naughtier end of the house and garage spectrum with a first volume in this new Low End Guerrillas series. Mista Men's 'Corner' has muggy blasts of bass that cocoon you in warmth as lively garage drums and nimble synth motifs keep things fresh. Mella Dee brings his usual sonic filth to the rugged analogue grind of 'A Way Of Life'. No Brainers then layer up a bubbly mix of top and hits over driving bass notes on 'Not Again', then Lvpica's 'Funky:Mission' keeps it deep and moody with a shadowy bassline and slick drums for cool cats. Live From The Moon shuts down with the more eerie and suspenseful 'Parrot In The Studio.' Characterful tools from font to back.

Francesco Passantino – Ground EP
With Ground EP, Francesco Passantino returns to essentials.
Five tracks that move through time and matter with natural ease. Ghianda and Terreno K resurface as defining points in his catalog, still carrying their original weight. Orlo reaches back to the late ’90s, channeling a raw, direct tension that reflects an attitude rather than an era.
Ground and Tuffata complete the release with minimal, physical structures: solid kick, subtle internal motion, a restrained palette shaped by live execution. The energy unfolds through repetition and breathes within small variations.
An EP designed for the club, grounded in rhythm and intention.
Rooted. Essential. Direct.

LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

We have released two Darrow Fletcher CD on Kent but he has never had a vinyl LP of his own - of any description.

This compilation concentrates on his Chicago years, though it adds a rare demo, ‘Hope For Love’, only previously available on a “Masterpieces” Kent CD. Also, we have included his one-off late-70s version of fellow Chicago-born writers Grey & Hanks’ ‘No Limit’, also originally a “Masterpieces” track and a now-deleted Kent Select 45; these fetch £100+ on some sales lists.

The mid-60s sides speak for themselves. He began his career with the acclaimed soul blast of ‘The Pain Gets A Little Deeper’ (an Elton John favourite of the time!) and followed up with dancefloor classics ‘My Young Misery’, ‘What Good Am I Without You’, ‘Infatuation’ and ‘Gotta Draw The Line’.

As was common in those days, the hip dance sides were coupled with tender ballads such as ‘Sitting There That Night’, ‘Little Girl’ and ‘My Judgement Day’. Those were particularly well received in his Chicago homebase and have been admired by slow-groove scenes like Lowriders in Los Angeles ever since.

Darrow’s late 60s recordings, though recorded in Chicago, were issued on Los Angeles labels controlled by Universal. By 1971 his producer - stepfather Johnnie Haygood - had reverted to using his own Chicago imprint Genna for the last recording.

Adele has already left an undeniable mark in pop music. Now, the British songbird is receiving the electro-bossa treatment.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.

Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.

Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.

Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.

The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.

Logistics makes a highly anticipated return after a three-year hiatus, with a whopping 24-track album.

Released across four 12 inch records, housed in spined sleeves, and presented in a premium two-piece lift-off box with scratch resistant matt laminate, matt varnish, and with fully printed packaging throughout. It is a beautiful presentation of this new LP from a Hospital Records legend.

Dropping almost out of the blue, the current reception from fans, artists & industry heads off the back of the 'ambush' announcement has been incredible. The album campaign is illusive, but rewarding to fans who have been waiting so long for brand new music from Logistics, they've now got 24 brand new tracks to get stuck into!

New material from our favourite exponents of Afro-psychedelic Funk !

All the beloved FDB styles in play here, a majestic 7" of loose-limbed freak-outs for the faithful.

‘Pavilion 12”s Volume 1’ features four hard to find and sought after Balearic cuts from the Ibiza Balearic explosion of the late 1980s and early 1990s and is pressed on a limited ‘Aquamarine’ coloured vinyl pressing of 600 copies worldwide for Record Store Day 2026

Following their recent appearance covering Sylvester and Patrick Cowley's 'I Need Somebody to Love Tonight' on Rocksteady Disco, the enigmatic cosmic pairing of Glenn Echo & Daniel Meinecke channel deep, shimmering disco and nu-disco vibes while calling on ethereal, cosmic textures. The throbbing 'Home Rule' opens with a warm, hypnotic pulse and well-worked vocals that deliver recognisable rhymes, while 'Love Letter' slows down to a heavyweight crawl with warped and twisted pads and plenty of texture. Both tunes here highlight the duo's skill at blending dancefloor immediacy with atmospheric nuance and feel like a journey through mirrored lights and late-night reverie.

For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.

"Know Your Toms", it struck us that we have in our collections a number of amazing releases from artists writing deep and underground house music all going by the name Tom. The mission - to collect a track from each of them and make the kind of release which finds its way into only the best record collections. Tom Lown records as Lucky Sun and runs his own label of the same name. His track "Tomcat" is deep, pad drenched house for when the sun is out and the dancefloor is heating up.

Tom Gilbert is a master at crafting melody-rich, future-facing electronic music that's as timeless as it is tuneful, atmospheric and pleasingly nostalgic as can be heard in his track "Tom & Roland". Tom Churchill is a Scottish-based electronic music DJ, producer, and label owner involved in the scene since the mid-90s, his track "Backwards Glance" is his trademark deep house at its finest.

Tom (Shur-i-kan) Szirtes needs no introduction and has produced the kind of track which lights up the dance floor in a peak time house set, "Round Robin" is an instant classic. Between them they have been signed to the cream of the crop in underground house labels: Freerange, Headspace, We're Going Deep, Winding Road, Innate, Tronicsole, M>O>S, Nordic Trax, DiY Discs, Echocentric, Lost My Dog, 2Sox, Distant Worlds. The EP Comes on eco marbled vinyl, with "Know Your Toms" sticker and insert which is a guide to identifying the different types of Toms out there. A limited run of T-shirts available from Fourier Transforms Bandcamp

Inspiriert von Vorbildern wie Earth, Wind & Fire, The Bar-Kays und Kool & the Gang erwarb sich die 1975 in Mississippi gegründete Formation Freedom im gesamten Süden einen Ruf als kraftvolle Live-Funk-Band. Die Debütsingle "Can't You See/Sunshine" (1977) klang unglaublich souverän, ausgefeilt, pulsierend und voller Potenzial. "Can't You See" mit seinem modernen Soul-Boogie-Sound und "Sunshine" mit knackigen Bläsern, treibenden Rhythmus und ausgelassener Energie. Tolle Reissue auf Miles Away mit türkisgrünen Labels und originalgetreuem Fotocover.

Conrad Subs continues his run of releases on Metalheadz, this time landing on Metalheadz Platinum for the first time with the 'Cylinder EP'. The Ipswich-based producer has built a reputation through a slew of releases rooted in drum and bass tradition, paired with a sharp, modern edge. His sound draws on the core elements of the genre while maintaining a consistency that now sees him land on Metalheadz vinyl for the first time, with four tracks built to do the heavy lifting.

A two-tracker rooted in movement and memory.

It’s Girls Night / Long Hair marks a confident next step for the Amsterdam-based, Dutch-Argentinian artist, pushing deeper into darker, more physical territory. Built from warped drum patterns, low-end pressure and distorted, inhuman textures, it leans fully into a percussion-led, club-focused sound.

It’s Girls Night is immediate - fast, raw, and unrelenting.
Long Hair pulls things into a heavier, more ritualistic space - broken rhythms, slower tension, deeper atmosphere.

Shaped by formative nights in places like De School, the EP reflects a direct connection to the dancefloor - where repetition, intensity and immersion take over.

A concise, impactful release and the first in a series with fabric Originals

Celestial Echo returns with a proper UK soul classic — The Cool-Notes “I Forgot How To Love You”, back on 12” and cut loud for the dancefloor.

Hailing from South London, The Cool-Notes were one of the UK’s most consistent soul outfits through the late ’70s and ’80s. While many know them for their chart successes later in the decade, this early period shows the band in a formative state — warm basslines, tight rhythm section, rich harmonies and that unmistakable Britfunk feel.

“I Forgot How To Love You” is one of those records that’s quietly done the rounds for years. A favourite of Frederika’s back in the day, it’s about time it has it’s first ever reissue.

Presented on 12” in a clean company sleeve, this edition gives the record a new lease of life.

Celestial Echo is here to put proper soul records back into circulation — Buy or Cry

Sounds of Sirius Music presents SOSNZ012 – Vedanā – Convergence / Polarity

All forces move in pairs. Light and shadow. Push and pull. Signal and silence.
Frequencies bend toward each other, magnetic fields collapsing into a single point of awareness. Tension becomes motion. Duality becomes flow.

New Zealand-based artist Vedanā leads the A-side with two original cuts, channeling a deep, hypnotic energy that moves between restraint and release. Each track reveals a different side of the same spectrum, balancing introspection with forward momentum.

On the B-side, label founder Herman Saiz delivers a reinterpretation rooted in his signature groove, bridging Chilean and New Zealand influences with a refined, driving touch. Romanian producer RQZ adds his own perspective, reshaping the original into a textured and immersive journey.

Convergence / Polarity captures the space where opposites meet — not as contradictions, but as essential counterparts in constant motion.

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.

Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”

Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.

On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”

Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Odyssey was originally a CD-only release by Japanese duo Master Mind (Hiroshi Ogawa & Hisaki Kurosawa) and was their 3rd full-length album. 30+ years later it is now available as a double LP on the California-based Forest Jams label. Its one of many albums of this particular genre that came out in the decade but one that is wholly unique with the depth in its sculpted sounds and the transportation it provides to an audio realm of equally fantastical and soothing proportions. For fans of ambient, lush gardens, auditory massages, RPG OST/BGM, and Kankyō Ongaku. Licensed by NHK Publishing and limited to 300 copies.

LTDBLBL023 introduces Pove, a producer from near Venice with a deeply personal and intuitive approach to music. Built around a love for groove, the six tracks explore jazzy house and funk influences, driven by warm basslines and playful rhythms. Created without expectation and guided purely by feeling, the record captures a sense of freedom and quiet confidence

Interstellar Echoes is a deep, hypnotic blend of Dub Techno and Dub House swing, built for late-night systems and long transitions. WM002 on Watermellow Music brings Benjamin Shock into full orbit mode: Warm chords drift through cavernous delays, low-end pulses stay locked and steady, and each track unfolds like a slow-moving spacecraft patient, spacious, and heavy with atmosphere. From the rolling drive of “Analog Odyssey” and the expansive glide of “Space & Time” to the tougher push of “Thunder Jam” and the weightless swirl of “Orbital Resonance,” this 12” is pure cosmic dubbing subtle, immersive, and endlessly repeatable.

LEYO returns with his most refined and personal album to date

Following the success of his debut album on Cécille Records, released in September 2024, which surpassed millions of streams and firmly established his signature sound, LEYO now returns with his second full-length LP on the imprint - a project that marks both artistic growth and a deeper exploration of his musical identity.

Building further on that momentum, LEYO followed up with his ‘Circus’ EP, a release that quickly became a standout moment, with the title track ‘Circus feat. Easttown’ gaining strong support and resonating widely across dancefloors and reinforcing LEYO’s position as one of the label’s most exciting and distinctive artists.
Now, with his new eleven-track album, LEYO opens the next chapter.

Featuring collaborations with Thierry Ganz, 3DDY and Native, the project showcases LEYO at his most refined and confident to date. Building on the foundations of his debut, he continues to blur the lines between soulful house, disco-tinged grooves and raw, stripped-back club cuts - all while maintaining a sound that is instantly recognisable as his own. Where his first album introduced the world to his unique blend of influences, this new body of work feels more focused, more mature and emotionally resonant. Each track carries its own weight, with moments ranging from intimate, melodic compositions to high-energy dancefloor pieces - true gems that reveal themselves over time.

The project has been a long time in the making, reflecting a period of artistic evolution and dedication in the studio. It captures not only LEYO’s growth as a producer, but also his ability to craft music that connects both on a personal and collective level.

At Cécille, we are incredibly proud to have LEYO as part of our family. Releasing his second album on the label is something truly special for us, and a testament to the journey we’ve been on together so far.

This album is not just a follow-up - it’s a statement.

Another massive offering from the one and only Mick Harris, continuing on in his Culvert Dubs Sessions experimentations with a new 2xlp. Once again Mick delves deep into the shadow realm of slow beat, psychedelic heavily textured, grinding dub techno. Eight tracks of absolute industrialized, delay swept, full pressure, sound system shaking murk ridden, dark water dubs. Top form work when Mick lets loose in this wild style, just the right balance of beauty, restraint and brutality. Total heavy weight music!

Congo Lion was immersed in African, Afro-Caribbean and reggae music from an early age. Settling in Africa when he was a teenager, he was strongly inspired by artists such as Burning Spear, Peter Tosh or The Gladiators. Convictions and values carried by their captivating melodies, full of humanity and spirituality, echo the sensitivity of Congo Lion. “Word, power and sound” is the foundation of his creative approach, inviting a return to origins, and openness to others. Self-taught, he composed his first songs in English and Jamaican Patois under the name of Natty Congo, at the age of 16. Most of his recent collaborations have been alongside the renowned Reggae producer, Karigan. Recording at his Back to Basic Studio, to produce a Reggae Roots Vintage sound, without concession, harking back to the original creations & tradition of the 70s & 80s.

Spatial stalwart and ambient master Aural Imbalance returns for a fresh slice of atmospheric heaven with Unknown Universe. A1 - Alien Lifeform A serene, distinctly atmospheric synth intro with light hats introduces Alien Lifeform, Aural Imbalance toying with filtered breaks and a deep bassline which ushers in trademark melodic pads and a thoughtfully constructed amen pattern. Rolling and intense, the track embodies Spatial’s love for the floor as well as the absorbed listener, nodding along to the laid-back rhythms on the 2am train home. A2 - Indigo Soothing, calming synths create an evocative introduction peppered lightly with cymbals and gentle intrigue, before the Circles break takes center stage with a delightfully constructed and crisply programmed pattern. A spirited breakdown with a subtle trance-like quality ensues before the breaks take over again, all set to a suitably earthy 808 bassline humming away below. AA1 - Empty Universe Deliciously clean and chunky Hot Pants breaks provide a DJ-friendly intro to Empty Universe, a blissful rolling track which sees Aural Imbalance fusing incredible 80’s synthwave vibes, rolling deep basslines and micro melodies with that timeless and evocative break - programmed to perfection - culminating in a stunningly atmospheric piece, fresh for the discerning listener - just as we like it at Spatial. A2 - Lunar Phase Kick back as Aural Imbalance closes the EP in fine form with a leisurely trip to the dark side of the moon. Lunar Phase opens with a short intro featuring sullen tones and light hats before a hypnotic break pattern takes over proceedings, and airy padwork circles above. A meandering melody builds throughout the piece and develops its final form during a luscious breakdown, and through the closing stages of this truly beautiful track. Words by Chris Hayes (Spatial/Red Mist)

A central figure in Belgian techno, Border One's work has also been an international reference for consistency and direction since his early releases. An artist for artists with true commitment to his sound, Steven Petit's impact in the studio and behind the decks is admired by anyone who has done their homework. His music describes tight pressure under curious, modular-like sequences that stretch through the timeline of each track. The scale of minimalism remains key here, and the Belgian wastes no time when tunneling through his erratic tracks. Jazz-like dissonance drives his tension and although each element is carefully measured, the records truly command dancefloors. 'Inner Radiance' is no different. The Fuse resident takes his game one step further, pushing harmony to hysteria at every turn.

The EP skips foreplay and dives straight into the extremities of Border One's sound. In 'Reducing Valve', sustain is the key ingredient to this chaos. Slowly ripping the synth sequence into chords, Border one maintains a firm hold on the track's tension while remaining playful with the main theme. 'Sensory Reset' is more of a lurker with its shifting pad that spreads across the stereo image. This track is characterized by a grim urgency as opposed to its predecessor's progressive spiral. Keeping things low to the groove, the A2 swings about satisfyingly while Border One tinkers at his 909 constructions. Continuing his work on resonance, 'Transfigured' balances obscurity and surrealism. With a sequencer on the loose and a drum machine to emphasize it, the Fuse resident guides his audience into twists and turns at a constant pace. Here, we explore the dichotomy between the warmth and cold of a modular sound in techno, something frequently done but rarely mastered. Border One puts his years of experience to work to provide a combination of flair and balance to his tracks, something that is clearly translated in this EP. Of course, the final track - the title track - 'Inner Radiance' brings something very special to the table. The power of simplicity can never be underestimated and Petit knows just how to use it. With a strong core to an already sturdy track, the conclusion is spectacular. Emphasizing the electrifying nature of the record, Border One adds vintage chord stabs that fit right in with the sharp lead to create a powerful and memorable dancefloor experience. Not as much of a wind-down more than it is a gripping cliff hanger for his future releases, Border One provides once more an EP that underlines the true ethos of techno music.

"Life & Death has been a bucketlist label for me since day one. I've always been inspired by the way DJ Tennis approaches music and the whole philosophy around the label. What always stood out to me is the variety in the releases. One record can be deep and emotional, the next one raw and club-focused, but it still feels like it belongs to the same world. That balance is something I am always chasing in my music. Next to this: in a world that is focussed more and more on short term wins and commercial performance, i really can tell that Tennis still values the art and process of making music the most, which is something i really appreciate"

I remember hearing him play at Circoloco in Ibiza and later in the Loft in Amsterdam and thinking: 'fuck, I should've send him the tune I made last week.' When I came back home, I immediately put together a pack of tracks to send to him. Two were released as part of the Fabric release, and 4 of them are on this EP.
For me, this release is a next step in my career, and I'm happy and proud to be part of a label that is both legendary and super relevant in 2026."

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

2026 repress

Lars Huismann makes a quick return to SHDW & Obscure Shape's newly minted Mutual Rytm imprint as he delivers a medley of classic, groove-driven techno productions via his "Sounds From The Past I" EP.

With recent releases via labels such as Slam's iconic Soma, Berlin-based DJ and producer Lars Huismann is quickly growing to become a familiar name of note within today's modern techno landscape. Having featured as one of the artists on the label's debut V/A release in February, with the German set to feature as a regular across the imprint in coming months, he unveils fresh shades to his sound palette on his return to Mutual Rytm with a combination of six slick techno cuts across his "Sounds From The Past I" EP.

The powerful, rolling dynamics of "Surge" open proceedings as Huismann quickly sets his stall, while "Collison" veers into slick, looping territories as the energy and tension are kept tight and high. Next, "Echo" ups the pace as tough kicks meet zipping melodies, filtered chords and looping vocal interjections amongst a medley of flurrying percussion licks, before "Funk Shed" takes cues from its title and showcases a classy blend of classic Detroit-influenced sonics guided by sweeping synths. Title cut "Sounds From The Past I" brings with it flashes of serenity and peace, before erupting and spiralling effortlessly into infectious and captivating drum grooves, before closing the show via the rich yet muscular tones of final offering and digital bonus track "Jackin".

Lars Huismann "Sounds From The Past I" EP drops via Mutual Rytm in March 2022.

Limited edition white 7” featuring a re-imagined version of Yungblud’s Best Rock Song GRAMMY®-nominated “Zombie” with The Smashing Pumpkins, and Yungblud’s acoustic version, both on vinyl for the first time.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

DJ Support: Sound Metaphors, Castro & Nemo, Luke Una and more

Test Pressing Tracks is a new label from the TP crew with a focus on club music. With three releases lined up we’re pretty excited about whats to come. The first release comes from Apiento & Tepper ft the vocals of MC Kinky (of ‘Everything Begins With An E’ fame) on Yellow Place Chop. On the flip we have Le Tour - a deep electronic journey that sounds best very loud. Artwork for the label comes from Dan Lissivk of Studio. More soon…