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XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

Das untote Quintett GRAVETY ist aus seinen Gräbern auferstanden. Angetrieben von der Kraft des mächtigen Cryptor haben sie neue epische Hymnen geschaffen, die diesmal düsterer und heavier sind. Auf ihrem dritten Album "Of Cults And Chaos" entführen sie ihre Children of the Grave in die verdammten Reiche des kosmischen Horrors. Inspiriert von H.P. Lovecraft und John Carpenters Apokalypse-Trilogie verbinden die Songs die Markenzeichen der Band wie treibende Riffs, eindringliche Parts, eingängige Refrains und dramatische Dual-Gitarren-Leads mit atmosphärischen Elementen und spannendem Songwriting. Tritt dem Kult bei!

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

FEAR - das gemeinsame Album von Jared Mattson von The Mattson 2 und Ruban Nielson von Unknown Mortal Orchestra - wurde im Juni 2024 aufgenommen. Alle Aufnahmen und der Mix fanden in Palm Springs statt. Gemastert von Matt Colton in den Metropolis Studios in London. --- "Ich wachte gegen Mittag auf, desorientiert, noch halb im Traum. Musik lief - unbekannt, voll ausgereift, die Art von Klang, von der man annimmt, dass sie zum Leben eines anderen gehört. Einen Moment lang dachte ich, ich würde noch schlafen und Musik hören, von der ich mir wünschte, ich hätte sie gemacht. Dann dämmerte es mir: Ruban Nielson war bereits wach, im Studio, und hörte sich an, was wir geschaffen hatten. Wir wussten es beide. Diese Musik hatte etwas Unvermeidliches an sich - als wäre sie weniger geschaffen als vielmehr entdeckt worden. Wir hörten sie uns immer wieder an, lachten und schüttelten den Kopf. Ein Track rief ein gemeinsames Bild hervor: einen immergrünen Wald an einem See bei Sonnenuntergang. Ruban blickte plötzlich auf, die Augen weit aufgerissen, als hätte man ihm gerade eine Botschaft überreicht. ,Ich habe den Titel", sagte er. American Eagle. Der Name wirkte genauso wie die Musik - klar, offensichtlich, unbestreitbar. Der amerikanische Traum: Hot Dogs, Cola, Fahrten bei Sonnenuntergang. Wir brachen beide in Gelächter aus, Tränen in den Augen, weil wir minutenlang so heftig lachten. Wir schwammen in seinem Pool. Das Gespräch hörte nie auf. Der Fluss blieb konstant, nährend, mühelos. Dann sagte Ruban es noch einmal - den Satz, der bereits zu einem Grundsatz geworden war: ,Lass uns mehr davon machen, das genau so klingt." Also taten wir das. Zwei Tage später war ,FEAR" fertig." - Jared Mattson

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

For their third album As You Please, Citizen is looking inward. Pairing up again with longtime producer Will Yip, the band presents twelve songs that fuse aspects of their entire catalog into one neoteric whole. While the cathartic melancholy of their debut Youth and the jarring intensity of 2015's Everybody is Going to Heaven are both present, the most welcome addition to Citizen's arsenal on As You Please is the range of auxiliary instrumentation and sonic experimentation on the album. This is most notable on "In the Middle of it All," where vocalist Mat Kerekes is sampled singing the song title in a modulated, haunting chorus that echoes throughout the song. The addition of organs and unconventional drum effects on songs like "You Are A Star" and "Medicine" create shifting emphases on tension and frailty, while the huge choruses of songs like opener "Jet" and "I Forgive No One" are reminders that while Citizen dove headfirst into uncharted territory with their new album, the band is still as good as ever at writing emotionally-charged anthems. As You Please presents Citizen's vision at the most focused it has ever been - it is delicately crafted to provoke at every moment.

Hardcore-Neudenker Hammok aus Norwegen veröffentlichen ihr zweites Album, das erste bei Sargent House! Irgendwo mitten in Europa begann Sänger und Gitarrist Tobias Osland einen neuen Song zu schreiben, der die internationale Hardcore-Szene widerspiegelte, welche die Band alsbald sie die kleinen Alternative-Kreise Oslos verlassen hatten, mit offenen Armen empfing. Er und seine Bandkollegen - Schlagzeuger Ferdinand Aasheim und Bassist Ole Benjamin Thomassen - waren überwältigt, als sie auf neue Fans und Gleichgesinnte auf dem ganzen Kontinent trafen. Sie nahmen den Song "The Scene" mit auf die Tournee, ein Song von Menschen, die sich einst außen vor fühlten - und nun einen Ort in der Welt gefunden haben. Mit beeindruckenden Demos im Gepäck und der Absicht, ihren Sound zu verfeinern, experimentierten Hammok so lange, bis sie etwas gefunden hatten, das all ihre Impulse vereinte: explosiv, eingängig und detailreich. Sie erweiterten ihre Wurzeln aus Noise-Rock, Hardcore und Metal um ein breiteres, dynamischeres Terrain und verwebten industrielle Härte, Hip-Hop-Pulse, Synthie-Texturen und progressive Elemente zu klassischer Punk-Dringlichkeit. Indem sie die Gegensätze von Underground-Intensität und Pop-Sensibilität ausbalancierten, schufen sie so ein innovatives HC-Album. "When Does This Place Become Our Scene" ist eine Einladung - der Sound einer Band, die sich mit ganzem Herzen dieser neuen Musik widmet und dem Publikum verspricht, dass dieser Austausch, sich lohnt. Limitierte rote Vinyl-LP mit ausklappbarem Lyrics-Poster und DLC, CD im Digipak. FÜR FANS VON: METZ, Title Fight, Turnstile, Converge. GENRE/STIL: Hardcore, Alternative, Metal, Noise-Rock.

Ian F. Svenonius and the philosopher of fuzz, black-jacket beat-bopper, bandstand bolshevik, single note savant, tear-stained tape deck, last refuge of ineptitude, sin is in group, ESCAPE-ISM stopped by our Detroit location one spring afternoon and recorded this pan-sonic polymorphously perverse plastic platter live on the Blue Stage. TOP SECRET. DO NOT BUY.

Endlec, one of Analogue's core artists, returns with a powerful new release: four full length tracks and four stripped-down loops, fusing old-school elements with high-grade techno.

Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!

After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!

Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.

These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!

Tour-Maubourg returns with a new 6-track EP, Dreams, further cementing his place as a key figure in today’s electronic music scene. Known for blending soulful house with rich jazz influences, the French-Belgian producer showcases both his DJ sensibility and refined production skills on this long-awaited release for French deep house label Noire & Blanche.



Nearly four years after Floating on Silence - his acclaimed EP for the label that quickly became a staple in DJs’ sets and underground all-night club sessions - Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive EP that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
crédits

2x12" 2024 Repress

Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.

Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.

UK Street Soul, electronic, Deep House

After enticing tastemakers and fans the world over with her 2-track junket into street soul, Be Loved / What Could Happen, Kuzco doubles down with the after-hours antidote. Bound to Be presents the final two tracks to complete the 4-track EP, plus 2 remixes from Ladymonix and Black Moonchild.

Ladymonix delivers an uncompromising scat dub of Be Loved - a niche and signature style to emerge from the Detroit underground that Ladymonix champions. This one is strictly for the house dancers. The B-side features "Waaalk" and "Ha Ha Ha", a sultry and energetic jaunt into ghetto tech and electro. If it wasn't already evident, Kuzco is clearly making a stand and representing the FLINTA and queer club spaces that she embodies.

The B-side is perfectly complemented by an outstanding remix from Detroit powerhouse Black Moonchild - a superbly deep and hypnotic techno groove reminiscent of UFO activity over the Motor City, with bleeping electronic signals passing through jittery hi-hat and drum passages, married with Kuzco's saucy spoken word.

ROOTS RECORDINGS takes some of their stand out digital releases and drops them on this 4 track EP. LOVE ATHLETICS & SEAN MCNULTY's "QUEEN" is on here in two bumpin' tech house mixes b/w DAN LAINO's bumpin' house track "UNDER THE LIGHT", original mix and the CORY WELLS remix. Funky, jackin' and deep!

LIP017 welcomes Bochum-based artist Aleeks to Life In Patterns. Despite being born in the early 2000s, he is deeply inspired by the sound of that era, channeling its essence into a forward-thinking take on modern techno. He has already made a name for himself with releases on ARTS, Oktogon, and Rave Your Soul.

His mini album "Bloom" offers a fresh reinterpretation of old-school foundations. Blending early 2000s influences with contemporary techno aesthetics, the record delivers a modern edge while remaining rooted in the fundamentals-driving rhythms, percussion-heavy grooves, and powerful low-end energy. Rich chords and atmospheric pads add emotional depth, shaping a distinctive and immersive sonic identity.

Spanning eight tracks, "Bloom" moves effortlessly from peak-time intensity to ambient textures and functional club tools, capturing the full spectrum of Aleeks's sound and providing versatility for every moment of the night.

Bliss Point is proud to welcome the Bogotá born, New York based Matük to the label with Sendero, a collection dripping with life, with lust, with joy in the face of it all.

Birthed from weekend-long studio sessions in the heat of New York summer, Sendero is luscious and visceral party music, crackling with the spontaneous possibility that runs through city streets as temperatures peak, asses throw and emotions run high.

Hailing from Colombia and deeply immersed in the New York underground, Matük’s influences collide into an ecstatic tapestry on Sendero, blending the rich traditions of Afro-Caribbean musics with experimental and club sonics, long the sounds of joy as defiance from deep within the imperial core.

Many paths cross on Sendero. “Ricotta” features vocals from BRAVA, the Basque DJ and MC whose raw, infectious spirit has injected new energy into the international bass and footwork scene. She is joined by Argentinian-Colombian artist FEDRA on synth and vocals, transforming voice notes the trio sung into their phones over a long weekend of dancing into a party anthem of their own. “Lio”, the EP opener, pairs Mexico’s Renn Loop with Matük himself, trading sultry, heated frustrations over latinx futurist production. Things slow down on “De; Dioses y Pantallas”, a yearning, introspective plea to the night sky, before returning to the party with the bouncing, acid-fueled remix of “Ricotta” from Mexico City’s Soos.

Sendero is a snapshot of a scene in motion, a document of serendipity and collaboration, music made in the long tradition of enjoyment as a revolutionary act.

Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

Winding Road Records are proud to present the “Last Disco on Earth EP” from the ever-elusive group of “Mar De Novo” which is M & N, Paraiso and Yse Saint Laur’ant. First up on this EP is the title track ‘Last Disco on Earth’ is a monster slab of modern disco. Fat grooves, cheeky melodies and cool glitchy production. Uplifting, positive and energetic - guaranteed to put a smile on the dancefloor. Next up is ‘Over There’ is a twisted slice of bass-heavy undulating house, punctuated by crazy interludes and samples that fly in from nowhere. Starting things off on the B side is ‘Uncanny Valley’ is a sun-kissed downtempo groover, with dreamy strings and wonderful chilled musicality. Following on from that is ‘Reflection’ exudes space, peace, and calm. Guitars and piano intertwine alongside haunting vocals. Soundtrack bliss. Summer vibes. Finally rounding off the EP is ‘Find Love’ rounds off the package with a dreamy balearic sunset vibe.

Frankfurt am Main -- Leipzig duo not even noticed deliver their long-awaited debut album space beyond noise - a 12-track journey balancing club functionality with immersive, long-form listening.

Shaped by years of touring and a shared ritual of visiting botanical gardens around the world, the album blends shapely grooves, field recordings and warm melodic textures into a cohesive, lived- in sound. Subtle environmental details run throughout, creating a natural flow between tracks.

Musically, it moves between electro-funk, breakbeat and hip-hop- inflected cuts, with downtempo and dubby excursions. Highlights include the driving “chrone,” the sundown groove of “diras,” the acid-tinged “plune,” and the hazy two-step moment “skum.”

Designed with warmer months in mind, space beyond noise captures the balance between dancefloor energy and home listening depth.

Immerse yourself once again in the worlds of Princess Mononoke and Spirited Away, the two Studio Ghibli masterpieces created by Hayao Miyazaki and set to music by Joe Hisaishi, in this new original production for solo piano!



Based on the official piano scores by the original composer of the Studio Ghibli films, Joe Hisaishi, this album is a new journey of discovery into the two beloved worlds of Hayao Miyazaki, performed by pianist Nicolas Horvath, a Steinway & Sons artist renowned as a first-rate interpretor of composers such as Philip Glass, Franz Liszt, Claude Debussy, and Eric Satie.

The album features a total of 26 tracks from the two cult films Princess Mononoke (Mononoke Hime) and Spirited Away (Sen to Chihiro no Kamikakushi), composed by Joe Hisaishi.

George Faith comes together with the maestro Lee ‘Scratch’ Perry to present

• I’ve Got The Groove
• Midnight Hour
• Diana
• To Be A Lover

Scratch’s most soulful production during the Black Ark years.

Third installment in our Bobby Aitken series, featuring long unavailable and previously unreleased works by one of Jamaican music's most elder statesmen. The A-side is the stuff our dreams are made of, previously unreleased melancholy minor key rocksteady, featuring a young Glen Adams on vocals and cut at WIRL where Bobby & The Carib Beats did a lot of work. The B-side is the great "Wonder Music", an upful horns instrumental featuring Val Bennett sitting in with the band, finally back after being long unavailable since it first surfaced in the 1990's.

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

Roger Sanchez announces his new studio album ‘SPECTRUM’, marking his first full-length release in two decades. The record is following on from his 2006 LP ‘Come With Me’.

Six years in the making, ‘SPECTRUM’ features a wide range of collaborators, including Fedde Le Grand, Karen Harding, Donae-o, Kelli-Leigh, Kele Le Roc, Chico Castillo, Aaron Sevilla & Kristen Knight, Escala, Carnao Beats, Stealth, Leo Wood, and Melanie C. The announcement comes alongside the release of a new single, ‘Temptation’, a collaboration with Low Steppa and Ragdoll.

Speaking about the track, Sanchez said: “Teaming up with my brother Low Steppa was a perfect merger of our New York to London roots. And working with Ragdoll for the first time was a joy… She absolutely kills it on the vocals! This is currently one of my favourite tracks in my box to set off the dancefloor and one of my favourite collaborations.”

Earlier this year, Sanchez shared ‘Come My Way’, the only solo production on the album. He noted that recent summers spent working in London played a role in shaping the record’s direction.

‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.

Berlin-based label Ascension on Wax continues its deep, jazz-inflected trajectory with the forthcoming release A Quiet Storm EP from DFRA, arriving June on 12" vinyl and digital formats (Cat No: AOW005). Available to buy and pre-order from May 15, the EP showcases DFRA's refined blend of soul, jazz, and classic house sensibilities, enriched further by a remix from Detroit's Jon Dixon.
Hailing from Colombia and now based in Buenos Aires, DFRA (Diego Ruiz) brings a deeply musical approach shaped by formal studies in composition and a lifelong immersion in hip-hop, gospel, soul, and disco. His productions balance two complementary sides, lush, jazz-rooted musicality and the raw, driving energy of Detroit and Chicago house. This duality is fully realised across A Quiet Storm EP, marking another step in his evolving sonic identity.
The title track, "Quiet Storm," opens the record with a deep, rolling groove elevated by exquisite saxophone work, setting an introspective yet dancefloor-ready tone. "Strings" follows with a dreamy atmosphere, rich piano textures, and a warm jazz undercurrent that highlights DFRA's compositional finesse. On "Charlene," soulful vocals intertwine with chord progressions reminiscent of early Motor City Drum Ensemble, delivering a nostalgic yet forward-looking house cut.
Completing the package, Jon Dixon reimagines "Charlene" through a distinctly Detroit lens. Stripping the track back and rebuilding it with deeper textures and signature keys, Dixon channels the spirit of Underground Resistance while pushing into more meditative territory, bridging jazz improvisation with machine-driven rhythm.
Founded in Berlin, Ascension on Wax continues to honour the legacy of jazz within house music, pairing contemporary producers with a strong visual identity and limited vinyl releases. With A Quiet Storm EP, the label reinforces its commitment to soulful, authentic club music rooted in the traditions of the 90s US scene while looking firmly ahead.

Neu-Auflage auif schwarzem Vinyl im Gatefold

Die schwedischen High-Energy-Rocker The Hellacopters haben kürzlich ihr 30-jähriges Jubiläum gefeiert und nach der Veröffentlichung ihres neuen, vielgelobten Albums »Overdriver« am 31. Januar 2025, das zum zweiten Mal in der Bandgeschichte Platz 1 der schwedischen Charts erreichte 1 der schwedischen Charts erreichte – ist es nun an der Zeit, ihrer treuen Fangemeinde etwas wirklich Nostalgisches zu bieten.

»Cream Of The Crap! Collected Non-Album Works • Volume 3« ist der lang erwartete Nachfolger einer Reihe von Raritäten-Sammlungen, die 2002 begann und Material aus einer Vielzahl von Singles, EPs und Compilations vereint. Die 24 Titel dieses Sets wurden ursprünglich zwischen 1995 und 2004 veröffentlicht, die meisten davon nur auf Vinyl, und umfassen Originale wie »Disappointment Blues«, »Freeway To Hell«, »Doggone Your Bad-Luck Soul« und »Long Gone Losers« sowie Coverversionen von Songs von Motörhead, Wilson Pickett, Mc5, Smokey Robinson, Alice Cooper, The Ramones, The Nomads, Adam West – dessen Sänger Jake Starr die Liner Notes für diese Veröffentlichung verfasst hat – und vielen, vielen anderen.

The Dwarves return to their punk roots with a fun, energetic record. Standout tracks include: Damned If I Do, We Are The Scene, Psychosis Tripping. Jenkem finds The Dwarves returning to the raw, confrontational energy that defined their early work, delivering a fast, irreverent blast of punk rock that blends melody, aggression, and their trademark shock humor. Packed with short, high-impact tracks like "We Are The Scene," "Damned If I Do," and "Psychosis Tripping," the album balances tight songwriting with the band's chaotic, anything-goes attitude, moving effortlessly between hardcore punk bursts and hook-driven rock moments. Formed in the mid-1980s and long led by founding member Blag Dahlia, The Dwarves have built a reputation as one of punk's most provocative and unpredictable acts. Emerging from the underground with releases like Blood Guts & Pussy, they became notorious for their explicit artwork, confrontational lyrics, and myth-making persona that blurred fact and fiction. Over decades, the band has shifted fluidly between garage rock, hardcore punk, and pop-inflected punk, while maintaining a consistent identity rooted in speed, satire, and rebellion. Their ever-changing lineup has included notable musicians such as HeWhoCannotBeNamed and members connected to acts like The Queers and Zeke, reinforcing their deep ties within the punk scene. With Jenkem, The Dwarves reaffirm their core strengths--brevity, intensity, and attitude--while delivering a record that feels both nostalgic and immediate. The songs hit quickly and leave an impression, driven by sharp riffs, pounding rhythms, and Dahlia's biting vocal delivery. As a continuation of their long-standing ethos, the album stands as a reminder of the band's enduring ability to provoke, entertain, and channel punk's most unfiltered spirit.

Helping to celebrate the 50th anniversary of his debut LP, Matthew & Son, released in 1967 via Deram, Third Man Records along with producer Jack White are pleased to announce two new and as of yet unreleased renditions of the earliest singles from Yusuf "Cat Stevens" Islam's vibrant and storied catalog. The project signals more of what's to come from the Blue Room Sessions series. Recorded at label headquarters this past September, the songs find new life with arrangements that are pensive and potent, sharpened by time on the road. The results are far and away a testament to the hustle and vision of all involved.

Dj T-Kut Team Leader of Skratcher Madrid, Skratch Elementz & Tablist Lounge Spain, publishes a new volume of Skratch Practice. After the success of the previous volumes, this time it will be called Skratch Fu-Finger Practice. Side A consists of 12 seamless loops at 100 BPM and Side B consists of 12 seamless loops at 133 BPM. This vinyl is a perfect tool for battle routines, freestyle scratching, in which you will find classic original sounds, phrases, Fx sounds and much more. This Battle Breaks & Scratch Tools vinyl promises hours of practice and is focused both for DJs who are beginning and advanced DJs. This work is published on 12" and 7" vinyl in black plus a limited edition in colour oxide blood for 12" and gold for 7". The 7" vinyl sides A and B consist of 6 loops per side at 100 BPM. Artwork: Adolfo Gerrero Mastered: Le Jad Producer: Dj T-Kut I hope you enjoy it and Happy Skratching!

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships.

Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes.

Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

"Space Friends" by DJ Moy is an invitation to celebrate friendship through music, a sonic experience that traverses genres and styles. Sound Exhibitions Records continues to lead the way in musical innovation, offering a vinyl that stands out for its freshness and versatility. A must-have for music lovers seeking an exciting journey among the Nu Funk & Afro Disco.

In Mikey’s own words, ““Myths of the MediterrAlien” is a high-octane voyage through a universe where ancient cultures collide with futuristic visions.” For him “the MediterrAlien is a hybrid character who drifts between mythology and outer space, carrying fragments of both history and hyperspace into the club.” Across four explosive tracks, the EP reimagines deconstructed club and experimental bass through a fast, hyper-energetic lens. Each piece feels like a different chapter in the MediterrAlien’s journey, spiralling through cosmic turbulence, touching down on ancient shores, and refracting tradition through the intensity of a distant galaxy.

Designed for the late-night fringes of the dance floor, Myths of the MediterrAlien is both a personal mythology and a sonic wormhole—bridging the universe where Jensen Interceptor’s comes from with where his imagination is heading next.

All tracks written and produced by Jensen Interceptor. Master by Carlos Nascimento at Qualia Audio Lab. Artwork by Conhecido João & Diogo Vasconcelos

The Fuga compilation returns to Token with its seventh installment by a fresh batch of artists emphasizing the cryptic sound of the Belgian record label. The V/A displays urgency as its focal point, expanding and contracting its acoustic space throughout to channel instability. With eight contributions, Fuga VII sifts through nail biting arpeggios, frenzied percussion, and obscure ambiance to recalibrate techno's current soundscape.

Opening the compilation is contemporary techno mainstay Rene Wise with his debut contribution to the record label 'Rough Rider'. In this A1, Wise plays to his strengths by blending deep techno influences with hyper-focused rhythmic work. With a hint of tribalism, he conjures up synthwork from far off to whip motion into heavy drum patterns. Following this first track, STIPP and Sandrien take control in presenting 'Corrie', a sequence-forward groover that slides through drum programing to streamline rhythm. A shrill pad comes in at the halfway mark, completely lifting the energy of 'Corrie' to strain the track's obscurity with an ethereal counterweight. The brief passage of these kinds of elements provides a lot of dynamic to what would otherwise be a powerfully straightforward piece. Diving deeper, Red Rooms unveils 'Limited Sensory' as the next chapter of the compilation. Always swift and exact, the German artist continues to push into the ultra immersive with a web of elements that whiz by for a peaktime lock in. Cold in attitude, Red Rooms tunnels through 'Limited Sensory' with quick drumsand far-off percussive hits that rumble through the track. Stepping up afterwards is Lindsey Herbert with 'Oscillations in Space' - an appropriately named recording that experiments with mania as a tool for the dancefloor. Fast and spiraling, Herbert keeps her hands on the arpeggio's filter to contain tension through thunderous reverb transitions, balancing panic with pace. AgainstMe then stretches out the followup with the commanding 'Phase Shift' to double down on weight. Textural intimidation and stomping percussion is given the space it needs to perform on heavy weight sound systems, making it an austere middle point for Fuga. MAL HOMBRE then guides the listener to more elastic sound design in 'Critical Velocity', in a most appropriate Token fashion. Snowballing in intensity halfway through, MAL HOMBRE pushes the cutoff of his melody and programs snare rolls for vintage craze through the second section. Bells clash with ringing hats to fly the track along its course without looking back or letting go. Conor Wall takes control with 'The Strategy' that focuses on pace rather than melody, weaponizing metallic texture for a deep dancefloor experience. The ambiance does a lot of story telling here, marking breaks and riding through drops to provide grit to an already substantial record. This leads us to the final contribution in Fuga VII - 'Ad Libitum'. Here, Porteix emphasizes the conclusion of the compilation with mystery. The synths slither around pulsating rhythm, creating uninterrupted motion throughout the track's entirety. Porteix draws the curtains on an inquisitive note, keeping the suspense high until the next Fuga compilation comes around.

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

“Duran Duran” aka “The Wedding Album” released in 1993 was a return to form for the band, charting in the top10 on both the UK and US album charts and spawning the world-wide hit’s ‘Ordinary World’ and ‘Come Undone’

Following in 1995, “Thank You” was an album of covers featuring songs written by Led Zeppelin, Bob Dylan, The Doors, Lou Reed and Elvis Costello. The album charted in the top20 of both UK and US charts.

Originally squeezed onto 1LP, both albums are highly sought after as neither have been re-pressed on vinyl since their original release. They are now spread across 140g 2LPs for the best sound. CDs will now be in paper sleeves as opposed to jewel cases.

“The Wedding Album” has a newly embossed sleeve and includes a 12” art card, and “Thank You” features a gatefold sleeve with a fold out poster replicating the original release.

Dave Wallace is one third of Aquasky, as well as a founding member of Mad Dog and Fugitive. He also released his own EP’s on Moving Shadow and R&S in the 90’s and more recently an EP on TeeBee’s Subtitles label as well as a return to the rave with various Fugitive tracks and remixes on Vinyl Fanatiks over the past few years.

But one track has always alluded a release, there was always something that prevented it from being released. Originally written in 1995, it wasn’t until 1996 that he sent it to LTJ Bukem who went nuts for it, advising Dave to speed it up from its original 156bpm so he could play it. Upon doing so, it was also sent to Fabio and the pair of them played it on Kiss, Radio 1 and various gigs and festivals across the world. Dave was just in discussions to release it when Dillinja made a Bladerunner track using the same samples. In light of that and how the hierarchy worked in the 90’s drum and bass scene, Dave decided to pull the release and the track went back into the DAT draw… for 26 years!

This track has been requested by many to be pressed since Vinyl Fanatiks started as it had such a huge fanbase, so many people loved the track after hearing it either back in the day or on copies of mixes uploaded in recent years to the internet. An extremely desired track! But there was never a B-side to it… until Dave stepped into his Fugitive guise and brought the track up to date with one of the baddest basslines we have released on the label.

Join us as we take you on a ride from the smooth to the ruff!


Its all an expression!

Soul Quest Records reaches a milestone moment with its 20th release, welcoming a debut that feels anything but new. Enter Sean Green… a mysterious new name whose sound suggests deep roots, sharp instincts, and the quiet confidence of a seasoned producer operating under a fresh alias. While details remain deliberately sparse, the music speaks volumes.

7 Inch Vinyl in Picture Sleeve

Jazz legend Grady Tate steps into silky soul territory on this essential two-sider. Both tracks — long sought-after by collectors and selling for over £300. The tracks showcase Tate’s smooth vocals and tight production, blending jazz sophistication with soul warmth. The A Side is a hyper rare version of Jon Lucien’s Lady Love, where the B Side is his version of Van Morrison’s Moondance - essential soul. Remastered and Redesigned labels and sleeve.

This is the third of the Mad Dog releases – and is often cited as the best release they did back in the day. Pure hardcore jungle flavours written in 1994 in sunny Bournemouth by Dave ‘Aquasky’ Wallace and Shaun ‘Aurora’ O’Hara.

Originally released by Olly on Underdog Recordings, who shared a house with Dave and also Brent from Aquasky. A hub of hardcore – the studio was on the ground floor, the bedrooms on the second floor and the top floor was the record label and pirate radio that ran for a while!

Around the same time this record was made, Dave was also producing as Fugitive and engineering for Kieron Aquasky’s various drum and bass tracks. On top of that he was making happy hardcore as Rebel Alliance and engineering hip hop for Brent Aquasky. A very busy guy who is still producing in 2024!

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Neptune and part of a 4 vinyl Cosmik series.

OMG!

Tim Reaper cited My God as his favourite jungle tune so we had to see if he fancied remixing it for us. And we think this is possibly the best remix he has ever done - but we are biased somewhat!

Then on the flipside Da Big Dawgs came back to the kennel - the original Mad Dog hit the studio together for the first time in over 30 years. Dave Wallace and Shaun O'Hara absolutely loved doing this remix and working together again - so hopefully we will see more new music from them as either Mad Dog or Fugitive in 2026.

Pressed on 10" vinyl. Handstamped vinyl and sleeve and comes with a 3mm spine black housebag.

_NRV011 welcomes Romanian craftsman Firesc for a deep, stripped and deliberate three-track journey built for long blends and late-hour tension.

“Travelling Monk” unfolds across eleven patient minutes — a rolling, meditative groove anchored by subtle low-end pressure and finely detailed percussion. The arrangement breathes, evolves and locks into a steady hypnotic stride designed for extended transitions and heads-down floors.

“Resiclap” tightens the focus. Snapping drums and elastic rhythm work drive the groove forward with crisp minimal precision, balancing restraint with just enough swing to keep things playful.

On remix duties, Andrei Ciubuc reinterprets “Resiclap” with a darker, more driving edge. His version sharpens the rhythmic framework and reinforces the low-end weight, turning it into a focused, late-night weapon without sacrificing the original’s subtlety.

A refined, functional release that stays true to the understated aesthetic _NRV is becoming known for — built for selectors who value patience, space and control.

UU014 IS HERE.

NO SALES NOTES NEEDED.

THESE SIX TRACKS SPEAK FOR THEMSELVES.

HEAVYWEIGHT UKG. BY. DESIGN.

SETTING THE TONE RIGHT FOR 2026.

WITH LOVE AS ALWAYS.

Saithara were a leading traditional Lanna music group in the Chiang Mai area, led by Chansom Saithara who was named a National Artist in 1996.

Chansom's son, Thepthara Panyamana, fronted the related Saithara "Combo", who explored a range of international pop styles to craft their light-hearted parody tracks in the local "kam mueang" dialect. The lead single here, from 1985, makes use of a well-known German synth-pop song which had become a surprise smash a few years earlier, while the b-side snags a similarly notable power-pop tune from the USA.

Thepthara was also a songwriter and instructor for the child musical group Nok Lae, a Chiang Mai area youth band who became mainstream crossover stars nation-wide. Thepthara passed away in 2017, and Baa Records has teamed with his brother Komsan to license this re-issue in his memory.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

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Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

7 Inch Purple Vinyl in Picture Sleeve

‘Red Moon’ is Alannah’s second solo single and marks her first ever physical vinyl release. The song reflects on growth, misdirection and self-reconnection, told through a woman looking back at her younger self. Written on a quiet beach in the Algarve, under a striking red moon, the moment became the catalyst for the lyrics, carrying a deep, spiritual stillness into the music. Alannah is a 23-year-old singer-songwriter whose sound blends RnB, jazz and hip-hop with soulful, storytelling vocals. Influenced by artists such as Sarah Vaughan and Billie Holiday, she views songwriting as a form of emotional release and shared healing. With performances at iconic venues including Ronnie Scott’s and Pizza Express Jazz Club, her voice carries a timeless energy, full of heart, vulnerability, and quiet power. Stanley Hood’s remix reimagines ‘Red Moon’ into a moody Deep House cut. Alannah’s layered vocals float over warm keys, late-night percussion, and thick, club-ready production, shifting the emotional core towards the dancefloor while preserving the intimacy of the lyrics. Supported across specialist radio and tastemaker sets. Released as a Record Store Day exclusive on coloured 7" vinyl with full picture artwork. Strictly limited run. When it’s gone, it’s gone.

DJ Support: Ashley Beedle, Phil Mison (Ibiza legend), Nick The Record, Kenneth Bager (Music For Dreams), Ross Allen (NTS, Worldwide FM), Simon Dunmore, Cedric Woo (Beauty & the Beat), Ban Ban Ton Ton, The Mighty Zaf (Love Vinyl), Femi Fem (Young Disciples), Jay Negron (NYC legend), Bruce Forest (Better Days, NYC), Bruce Tantum (NYC), Colleen “Cosmo” Murphy, Mr Shiver, Hugh Mane, Eccentrics Disco, Eclectics Disco, Fannoire Ge, Percebes Records (Lisbon), For Mankind (Pikes, Ibiza), S/A/M (Cafe Del Mar, Ibiza).

Winner of the 2020 Bob James “Black Lives Matter” remix competition on François Kevorkian’s World Of Echoes Facebook page, Love For Black Lives is available on vinyl for the first time, alongside 2 brand new mixes, on this 4-track EP. It is the debut release on Hobbes Music’s new sub-label Noetic Rhythm, dedicated to releasing music that brings people together on the dancefloor.

Leonidas debuted in 2012 with Sequential EP on Kay Suzuki's Round In Motion label, gaining praise from industry legends. He has collaborated with Hobbes on several releases, including the Balearic hit Web of Intrigue, which topped Bill Brewster’s 2017 DJ poll. His music has appeared on compilations like DJ Harvey’s The Sound of Mercury Rising Vol II, as well as BBC Radio 1 & 6 music.

For the first time on LP vinyl, Come Ahead: The Remixes Vol.2 (Dubs) brings Primal Scream’s club-ready reinventions into full analog glory. Originally released in FLAC format in 2025, this second volume dives deep into dub territory, reimagining tracks from Come Ahead with hypnotic grooves and spacious textures. Featuring reinterpretations by Lovefi ngers, Black Science Orchestra, Radio Slave, and Pet Shop Boys (in dub mode), each track pulses with low-end warmth and rhythmic experimentation. From the acid-drenched swirl of “The Centre Cannot Hold” to the narcotic haze of “Innocent Money,” this is Primal Scream at their most psychedelic and dancefl oor-minded. Specially mastered for vinyl, the sound is immersive and tactile — perfect for DJs, collectors, and audiophiles alike.

Eight tracks, nearly an hour of music, and a sleeve that nods to rave-era design make this a must-have for fans of dubwise house and experimental club culture. Limited pressing. Maximum impact. Come Ahead: The Remixes Vol.2 (Dubs) is available as 2LP Black Vinyl.

LP in Picture Sleeve

Following his acclaimed gospel compilations, Greg Belson digs deeper into the private soul and R&B world with The House of Beauty — a stunning new compilation focused on independent releases tied to chicago’s HOB label. Beautifully remastered, this Celestial Echo release tells a story of DIY soul at its purest and Carmen Murphy’s legendary work. An RSD 2026 special that embodies the day’s spirit — discovering overlooked voices and celebrating the communities that brought us some of the best gospel soul. 1xLP, Picture Sleeve, Remastered.

For the second IT record from Detroit's Andy Toth, he explores a sci fi fusion of electro and acid, with a remix by BMG of Ectomorph fame. Andy Toth has a long history in Detroit Techno, from an engineering and mixing background where he mixed records for the likes of Mike Huckaby and many others, to co-authoring "Sandwiches". For this record, Andy had the songs mixed on hardware by BMG in his studio, to give them an even more 3 dimensional sound and an even greater weight. The result for the "Mind Lock EP" is simultaneously hypnotic, acid, sci fi, and electro. The depth of tone, density of sound and maturity of concept come through the 4 deeply compelling tracks that you can just get lost in.

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

Heavy, reminiscent of a release from the nineties, Younger Than Me pulls us through interdimensional soundscapes on his debut to the label — a wormhole morphing from ultra-emotive breakbeat and hallucinatory progressions into full-blown, boisterous acid techno at its very best. A producer with an endless catalogue of releases, notably on incredible labels including Jennifer Cardini’s Dischi Autunno, now steps up on Neptune Discs with his Vaco Loco EP. The Berlin-based, Italy-born producer is joined by Byron Yeates and label regular Biodive on the B-side, each taking turns remixing A3, Aargh!!!, pulling it in different direction — one leaning into trippy trance atmospheres, the other exploring a more immersive progressive terrain.

2026 Repress

London based composer, multi-instrumentalist and producer Akusmi announces 'Lines', an exhilarating new collection of works born from the desire to take where the acclaimed debut album 'Fleeting Future' left off - in search of new forms.

" 'Secant', I must have listened to this tune 3 times in a row, this one soundtracked my night drive through the winding roads" - Benji B, BBC Radio 1

'Lines' is presented as a Limited edition clear vinyl (500 copies only worldwide), printed in heavy-weight reverse board sleeve with a hand-numbered edition sticker. The vinyl edition also features 'Oblique' (A2), an exclusive version for the vinyl format, plus the now revered 'Longing for Tomorrow' - (Brandt Brauer Frick Remix), previously unreleased physically and now pressed on vinyl format, ending side B. The cover artwork features another collaboration with Dutch visual artist Sigrid Calon and design by label founder Adam Heron.

Formed with a sense of urgency and a reductive approach 'Lines' is almost entirely comprised of alto saxophone, clarinet and piano with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process:

"I wanted to go a bit more a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me."

Akusmi uniquely finds the spaces in between experimental jazz, crossover classical and ambient music.

Discoweey launched back in February with a collection of label head Hotmood's hottest digital tunes making their way to wax for the first time. Now he is back with a second collection of worldly hits that collide Latin, disco, funk and soul into colourful and hooky grooves perfect for outdoor dancing under the sun or the stars. 'Por Que Me Dejaste' is a global groove with Spanish vocals flair, 'Dancing Is The Only Way' is a smoother disco-house blend and 'My Love Is 4U' is a soul-drenched and feel-good retro number before 'Hot Beat' closes with jazzy and cosmic synth expressiveness and timeless house drums for all the magical feels.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

Is the result of an unexpected and powerful connection between Meeks and Jedsa Soundorom.
Both have spent over 25 years immersed in music, coming from very different backgrounds but combining them to create something completely original.
Meeks, an experienced producer and beat-maker, made his mark during the French Touch boom of the early 2000s.
He worked with artists like Hernest Saint Laurent and Scratch Massive, earning respect for his attention to detail and his love of exploring sounds and textures.
Jedsa Soundorom, meanwhile, is a DJ and producer who’s traveled the world, always bringing new influences into his music and growing his unique style.
When they met a year and a half ago, it clicked right away. That connection became BUG DIVIsion, a project that blends Meeks’ careful precision with Jedsa’s raw energy, creating electronic music that feels both deep and natural.

RAWAX welcomes Guillaume & the Coutu Dumonts to the artist Family!
Very happy to announce a series of records, starting with "Coup de Théâtre" which is a very strong opening release for us.
Lovely EP full of ´Groove, Soul and Funk.
Don't miss!

Originally released in the height of the underground disco revival, The Sounds Of Revolution EP has since become a sought-after modern classic. After years out of circulation — and with original copies now trading hands for €80-100 on the second-hand market — this long-requested EP finally returns to vinyl.

Italian producer Giovanni Damico (aka G-Machine / Ron Juan) delivers four timeless boogie cuts that perfectly bridge vintage Italo, cosmic disco and modern club energy. From the euphoric synth hooks of the title track to the robotic funk of “Italians In A Line”, this EP captures everything that made Damico a staple in DJ bags across Europe.

Carefully reissued for a new generation of selectors, this release is equal parts heritage and dancefloor weapon — essential for fans of Italo, nu-disco, boogie and anyone building a serious disco collection. Expected shipping: End of May/begin of June 26.

A shared studio session in Detroit led to this focused techno collaboration between heavyweight talents Luke Hess and Thor. Recorded over several intense days inside the DeepLabs studio, the EP reflects a meeting of two distinct approaches. Hess brings the warm, soulful pulse long associated with Detroit techno, while Thor contributes a stripped-back minimal sensibility shaped by his Icelandic roots. Analogue machines and rare samples give the music a tactile edge and form the crisp but deep drive of 'Induction' to the subtly uplift and smoky soul of 'Samruni'. This is a restrained yet powerful record.

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

A reflective mood shapes this new ENSOULED compilation, which leans into thoughtful deep house and rhythmic exploration. Italian producer Kikko Esse sets the tone with 'Nightfall Chroma', a spiritual cut guided by warm chords and the sort of slow burn groove that is like sinking into a lush bath, and is later reworked by Alton Miller, whose Detroit-rooted style adds some lovely swing. On the reverse, Cee ElAssaad and Masaki Morii deliver 'Tribe', a more prickly percussive cut underscored by dub effects and spoken word. Hugo LX closes the 12" with a deeper club reinterpretation that keeps you locked.

Get The Hose is the fabled, long awaited debut release from Montreal duo Plumbing, featuring Martyn Bootyspoon aka Jason Voltaire (Fractal Fantasy/LuckyMe/Fool’s Gold Records) and Stephen Ramsay of Young Galaxy (Paper Bag Records/Smalltown Supersound).

Born in 2018 as a live, analog hardware-based studio project, the duo worked quietly on the periphery of the left-field electro scene, only venturing out to do occasional, legendary winter warehouse DJ sets and a still-vaunted live set at MUTEK in 2021, which was so visceral that it knocked every person present into their seats simultaneously.

As cheeky and playful as it is gritty, relentless and overdriven, Plumbing’s new EP showcases their love of the raw and grimy, bare-bulbed basement aesthetic of underground dance music, where Paranoid London, Drexciya, MMM and Blawan meet to steal your drink and ignite the dancefloor.

It’s getting hot in here, it’s time to Get The Hose…

The craft of making music and the exploration of new methods for creating sounds were at the very heart of producing markmechanik’s LP “Invest in Rest”. The months-long production process led to one key insight: music is a tool. And this tool opens up possibilities for slowing down, sets a counterpoint to the fast-paced digital age, and leaves intellectual overthinking behind.

In his second solo release, markmechanik fully dedicates himself to blending sampling with digital and analog sounds. Between the sounds, you can hear the celebrated time spent in the studio—the playful tinkering with sounds and devices has been distilled into the LP’s eight tracks.

This release is an act of breaking out of conventional categories for Seismic records. Established boundaries of genres are completely dissolved into an unpredictable flow of sonic associations. It’s an unexpected collaboration, yet it makes perfect sense from the first kick. Two artists from seemingly opposite ends of the musical universe come together to create a project which fearlessly embarks on the synthesis of hypnotic trance-techno and utter sonic chaos. This project is anything but predictable.

The duality is noticeable from the very first moment. One side brings relentless movement forward in the project: a raw, hypnotic pulse based on rhythm and precision, locking the listener in the present moment and not letting go. Unpredictable textures and psychedelic ornaments are constantly weaving through the rhythmic framework.

A dedicated listener may recognize that the whole EP carries the legacy of David Lynch’s work. The sense of peculiar uneasiness and indecipherability, overridden by the desire to find out what comes next, are exactly what the artists manage to capture and what is so characteristic of Lynch himself. At one point, the EP even reveals a moment as if a red curtain parts in the depths of the track and the listener momentarily catches echoes from the town where owls are not what they seem. Hidden within is a playful nod to the iconic Twin Peaks soundtrack.

Gunnter drops Paris Match EP on wax, blendin’ raw Parisian house vibes with next level grooves. Bloodsport to Distraction, every cut hits hard, straight for the floor. Spin it loud, let the city sweat.

DeepLabs opens 2026 with an exciting new release, “Förvandling,” from Tarik Hensen—the collaborative project of two exceptional producers, Martinou & Ben Kaczor.
This release completes a full-circle journey: rooted in Detroit techno, traveling through Malmö, and landing in Basel, where these influences converge into a singular, immersive statement.
Longtime admirer of both artists’ solo works, Luke Hess joins the project with his own interpretation of Förvandling, bringing his distinct Detroit-informed perspective to the release.
Förvandling is the Swedish word for “transformation,” describing the metamorphosis of a caterpillar into a butterfly.
The title reflects the evolution of techno itself—how it shifts and reshapes across cities, communities, and eras while retaining its core spirit.
Varp refers to the vertical warp threads in woven fabric—essential structural lines that hold everything together.
The track mirrors this concept: hypnotic percussion and immersive ambience interlace with melodic tones, unified through Tarik’s live dub mixing approach, creating a rich, fluid tapestry of sound.
Malm translates to raw ore, the unrefined material that, when forged with alloys, becomes durable metal.
True to its name, the track channels a deep, raw warehouse energy—refined into a functional gem through harmonious stabs, textured layers, and driving momentum.
Closing the EP, Luke Hess’s remix of Förvandling draws from elements across the original works while incorporating new audio stems from the DeepLabs studio.
The result is a seamless transformation of Tarik Hensen’s aesthetic into Luke’s unmistakable Detroit sound—an adventurous, atmospheric journey crafted for extended DJ sets and immersive dancefloor moments.
Tarik Hensen and Luke Hess invite you to weave these tracks into your curated selections and allow them to transform the dancefloor in unexpected ways.

Raw afterhours house rooted in the early 90s New York warehouse sound.
Heavy MPC-driven drums, deep sampled pads and stripped grooves designed for long late-night sets. A functional 12" moving between raw house energy and deeper afterhours moods. Limited pressing of 200 hand-stamped copies. No repress. No digital.

glow-in-the-dark clear vinyl

In 1998, Carsten Nicolai, also known as Alva Noto, visited a sound installation created by Robert Lippok for a group exhibition in Weimar, Germany. Soon after, he invited Lippok to release music on his label raster-noton. »Open Close Open« was released in 2001 and marked the beginning of Lippok's solo career. Before, Lippok had already played in Ornament und Verbrechen (with his brother Ronald Lippok) and To Rococo Rot (with Ronald Lippok and Stefan Schneider).

The title of the EP is a linguistic reference to the instructions found on everyday objects. In fact, the sound of birds or a closing door can be heard. Besides field recordings, cultural fragments were used – including the sample of the famous Adagietto from Gustav Mahler's Symphony. No. 5. – and integrated into three loop-based pieces, that have been praised by Fact Magazine as »a masterclass in collage, looping and tactile processing.«

The source material for »Open Close Open« initially served as a soundtrack for a video by Takehito Koganezawa, a visual artist from Japan. For this remastered vinyl reissue, Lippok revisited the original sound material and produced a new track called »Licht.«

We’re thrilled to announce the 10th release from our label, Atangana Records! After over eight years since we began, we’ve come a long way. We’ve had numerous music releases whilst focusing on preserving the Caribbean cultural heritage, which doesn’t get talked about enough.

With the creation of the association Sa Ka Touné, we’ve collected over 15,000 records and organized Tropical Clubbing events in Guadeloupe, where invited DJs dig through our association's collection before performing.

ATGN0010 Kadence-Kadance (with a K, not a C) is a tribute to our Creole roots, as it is written "kon sa." We wanted to emphasize this point.

This release features a killer Afro/Latin fusion by Alex Dorothée and is a must-listen!

"Late loud music has a purpose & I'm trapped in a particular type of understanding of it! And I grow! This is never experienced as something limitless. I know that this will end!" A cyber-take on after-hour narrative murk from Seattle's veteran DJ & conscientious objector.

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Twenty years ago, somewhere in Scotland, an album that was the missing link between The Black Dog, Chain Reaction and Irdial was released by an enigmatic Glasgow producer called Pub, on his equally mysterious label Ampoule.

The album ‘Do You Ever Regret Pantomime?’ (2000) has become the stuff of local folklore, a key work in the UK’s rich history of IDM and ambient, and one of the most celebrated albums of the early noughties. Bizarrely, it even infiltrated the Billboard Top 100.

‘Do You Ever Regret Pantomime?’ is also very much a key statement from a producer who has chosen to stay in their own space, where everyone is welcome. Records like these are about losing yourself in the sound and creating your own universe to explore.

Over the record's 70 minutes or so you’re instantly wrapped in a deep matrix of spacious chords, abstract textures and gently shifting rhythms.

The 2020 reissue has been re-mastered and cut at Berlin’s Dubplates & Mastering, pressed as a 2x12” and features new artwork and a bonus track.

This release also heralds the return of Ampoule, the Glasgow label which released music from the likes of Lucky & Easy, Omens Jot and Moped Endo among others. Forthcoming releases will be a mixture of new music and re-issues from the archives.

AS THE WORLD TURNS is the newly founded label by Rob Manga -- a platform created to channel his distinct sonic identity while cultivating a community rooted in shared energy and expression. The label emerges from a clear intention: to push a personal sound forward while opening space for others to connect, contribute, and evolve alongside it. It is both a statement and an invitation -- a place where sound becomes a meeting point. The first release marks this vision with a four-track EP, weaving together soulful textures, deep atmospheres, and club-driven impact. Each track reflects a different facet of the dancefloor, balancing introspection with movement, and depth with raw energy. With this debut, AS THE WORLD TURNS sets the tone -- not just as a label, but as a growing circle centered around sound, rhythm, and connection.

Sushitech continues its expertly curated mission of uncovering hidden gems adding to its ever-green catalogue with another immersive, rare house classic from the West Coast of the late '90s.

Tim Buna and Eric James (RIP), who produced as E.T.I. and formed part of the solid bedrock of the West Coast sound alongside DJ Garth (together as Rocket) and the Wicked crew, join forces with Tony Hewitt, another titan of the era.

This rare genre-crossing underground record has been treasured by collectors for years, earning support from key players and featuring in the infamous Tyrant mix of Craig Richards and Lee Burridge.

Carefully restored and recut, this monster of a record is now available once again on Sushitech in its full form. Three decades on from its original release, its raw, dirty, high-energy vibe remains hard to match, with authentic, magical sound that stands second to none. Late '90s acid house at its finest.

Faux Poly is delighted to release its first vinyl record release since 2023: NINA, a rising UKG/Dub prodigy, is arriving with Internal Makeup. Bristol-based NINA has steadily built a reputation as a forward-thinking
solo artist, dropping highly sought-after records with a distinct sound and craftsmanship that set him
apart. Just one year in, NINA has released on labels such as Innamind Recordings, 20/20 LDN, and
Locus Sound. This new chapter is a pure distillation of that journey - a sound informed by dub, garage,
grime, and soundsystem pressure.

Internal Makeup features four bass-driven club tools that are minimal, weighty and focussed on sub. Opening with “The World Is On Fire”, the only 4x4 track on the record, NINA sets the mood with a cavernous dub techno jam and spaced out vocals. The rest of the record - including the Rowl collaboration “When I Come” - hits firmly in UK Bass territory, with stripped compositions that focus on bass-weight and a strong Bristol influence.

Words from NINA: This EP came together slowly and surely over the space of about a year. I wanted to
encapsulate my true sound which can be extremely versatile which is why there is a bit of everything on there, from techno to garage to dubstep.

Future Tones is back... this time with Fdez, label co founder. Four dancefloor killer tracks, and starts with Dr Blowfin, Dark and driving techno house tool. Rolling sub-heavy bassline, tight percussive groove and raw analog synth stabs.

The A2 is for Techcontrol, Stripped and hypnotic. Minimal drum programming layered with evolving analog textures and shadowy vocal fragments.

The other side starts with Sarcofago, Heavy low-end pressure with a punchy groove. Italo-tinged atmospheres and dusty analog sequences create a moody peak-time cut with steady progression.

And B2 is for Zigurat, Killer closer. Deep pulsating bass, restrained percussion and haunting vocal elements floating over warm analog pads. Perfect for late-night transitions and controlled energy shifts.

Straight out of the Hungarian underground and straight onto marbled wax, Daniel Meister delivers his debut for Dubøka with the Euphoria EP, three tracks built for the dance floor.

Raw, hypnotic, and unapologetically groovy, Meister’s originals lock into that perfect sweet spot: driving basslines, and crisp percussion to keep the floor locked in. This is proper main-room business.

Rounding out the package is a special remix from Swedish veteran Chris Llopis. He takes one of the cuts and injects his signature warmth and swing, stretching the groove into something even deeper and more hypnotic, a proper late-night weapon.

Pressed on 140g marble vinyl, limited run, no repress planned.

This is the fifth chapter in our vinyl series and easily one of the strongest yet.

Support the label, support the artists, and get this one in the bag before it disappears.

Available now via selected record stores worldwide.

Dubøka Records – keeping the underground spinning since day one.

DBKAV003 – Daniel Meister – Euphoria EP

Out now. Play it loud.

2026 Repress

Paces of Places" is an evocative exploration of the diverse rhythms that define various environments, intertwining physical, symbolic, and digital realms. This album delves into the intricate layers of pace, not just in terms of rhythm, but as a reflection of deeper societal and existential meanings. Each track on the album transports the listener to a unique locale, where the pace of life reveals profound truths about human existence, societal constructs, and the ever-evolving digital landscape.

The concept of pace is multifaceted within this album. It goes beyond mere tempo to encompass the emotional and symbolic resonance of each environment. Whether it's the languid drift of forgotten dunes or the frenetic energy of virtual hideouts, the pace embodies the essence of these places, drawing listeners into a vivid auditory experience that stimulates both thought and feeling.

"Paces of Places" is a profound auditory journey that challenges listeners to reflect on the rhythms that shape their lives. Through its masterful blend of soundscapes and symbolic depth, the album offers a contemplative experience that resonates with the complexities of contemporary existence.

- 2026 repress -

Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

2026 repress