We are welcoming a fresh blood from the south of Italy: Delikwe
Words Create Vibrations is a solo EP recorded between 2023 and 2025, where techno and dub foundations merge seamlessly with ambient textures and breaky-step rhythms. Across five tracks, the record unfolds as a deeply atmospheric journey — hypnotic, spacious, and rhythmically dynamic. Sub-heavy frequencies meet shifting percussive structures, while layers of delay and texture generate a sense of depth that feels both physical and introspective. Each composition evolves patiently, acting as a meditation on resonance, movement, and the unseen architecture of vibration.
The A-side presents Delikwe’s original works in their purest form: immersive, restrained, and subtly transformative. Rooted in sound system culture yet open in structure, the tracks balance meditative stillness with rhythmic propulsion.
On the B-side, Australian producer Pugilist delivers a powerful reinterpretation. Known for his refined low-end pressure and deeply immersive productions, he reshapes the source material into a weightier, system-focused experience. His remix amplifies the sub frequencies and spatial depth while preserving the meditative core of the originals, creating a compelling dialogue between exploratory dub atmospheres and grounded sonic precision.
Words Create Vibrations stands as a sonic exploration where rhythm, space, and texture converge into a fully immersive listening experience — crafted for powerful sound systems, late-night sessions, and attentive minds alike.
c a3. Agna Street [Words Create Vibrations]
[d] b1. 6am [Ice Mix]
[e] b2. 6am [Pugilist Remix]
Departure Lounge welcomes Andy Ash to the lineup with his four-track EP, "When The Sunlight Comes." Warm and deep - Andy traverses the euphoric realm, as well as acid influences on the a-side, before a slung out b-side cements a satisfying reflection of his range. Over a year in the making, this is a truly special release, and a testament to Andy's craft. As a final touch, Flabaire closes out the record with a tasteful remix of "Sunrise Acid."
Following his acclaimed debut album Whateverism, Italian producer Turbojazz returns with Memorabilia, a heartfelt tribute to the roots of dance music culture and a personal journey through memory, community, and sound.
The album delivers a rich and diverse palette of house and soulful grooves, music to dance with both your feet and your ears, and features a heavyweight lineup of collaborators including Robert Owens, Rona Ray, Javonntte, Cor.Ece, Bad Colours, Doni Nicole, alongside longtime allies Veezo and Broke One.
Crafted with reverence and a forward-thinking spirit, Memorabilia is more than an album. It is a message to the dance music world that culture lives on through those who carry it forward.
A fresh reinterpretation project from 20/20 Vision’s Ralph Lawson and Carl Finlow that revisits their own classic Blaze remixes for 2026.
Originally remixing ‘Lovelee Dae’ back in 1997 for German label Playhouse and ‘Wishing You Were Here’ in 1999 for Slip ‘n’ Slide, these new takes deliver stripped-back dub versions and refined edits crafted for the dancefloor.
The collection blends classic Blaze soul with deeper, groove-driven house textures—highlighting the timeless songwriting of Blaze while giving it a fresh underground perspective
"There is a suspicion that no one really knows how to deal with the legacy of the past." — Siarhiej Kraŭčanka
Malenčyk / Lami is a double vinyl release pairing previously unpublished archival recordings of Belarusian fiddler Stanisłaŭ Malenčyk with a response to that archive by Italian sound artist Giovanni Lami.
Stanisłaŭ Malenčyk (1928–2007) was a self-taught fiddler from a small village in Western Biełaruś, born on land that was then Polish territory. He never studied music formally and never worked on a collective farm — he supported his family solely through playing, crafting his own violins and harmonicas by hand. The music he played was made for a community: weddings, christenings, a room full of people, a shared life. As life shifted toward the cities and the village dissolved, that music lost the only place it could exist. By the end of his life, Malenčyk — nearly blind — was playing for whoever happened to be there: at the local bazaar, on district buses, moving through the aisles. He simply couldn’t stay home. He had to play.
These recordings were made by ethnographer Mykoła Kozienka in Ščučyn in 1999 and have not been released until now.
Giovanni Lami approaches this archive from a distance that could hardly be greater — geographical, cultural, temporal.
Credits:
Record 1 (Side A/B) — performed by Stanisłaŭ Malenčyk,
recorded by Mykola Kozenka in Shuchyn, Grodno Region, Belarus in 1999.
Record 2 (Side C/D) — produced by Giovanni Lami.
Mastering by Siarhej Cviki and Anton Aniščanka
Archival research by Alaksej Krukoŭski and Alaksandr Baroŭski
Cover Artworks by Volha Savič
Cover design by Ihar Jukhnievič
Project curation by Anton Aniščanka
Project assistance by Alaksiej Šumakovič
Texts by Siarhei Kraŭčanka (essay, editing, translation),
Alaksej Krukoŭski and Alaksandr Baroŭski (Malenčyk biography),
Giovanni Lami (artist statement)
Tied returns with its next vinyl-only release, timed for the spring and summer season. Mr Chic EP brings together four groove-led House & Tech House cuts from two emerging artists: three originals by Lose Endz, alongside a remix from Velvet Velour.
“Mr. Chic” opens with a smooth combination of tight drums, warm chords, and soft pads. Subtle ’90s House references sit within a modern, functional framework, resulting in a steady, floor-focused track.
Velvet Velour’s take on “Mr. Chic” introduces his characteristic swing and rhythmic phrasing. While retaining core elements, the groove and structure are reshaped, giving the track a more dynamic, driving feel.
“Churruca” moves deeper, built around a driving groove and evolving chords that gradually unfold into a Detroit-leaning progression. The arrangement develops patiently, creating a hypnotic, immersive feel.
On “Let The Acid Begin”, a rolling 303 line introduces a rawer edge. Vocal snippets and acid textures interact with a consistent groove, keeping the track direct and effective for later hours.
Across all four tracks, the EP stays grounded in groove and function—crafted for extended play, from warm-up through to more intense moments on the floor.
Michael Forzza unveils Obscure, a two-track EP navigating the darker edges of atmospheric techno with precision and intent.
A) Obscure is a peak-time weapon built on powerful percussive drive and a commanding groove. The rhythm pushes forward with controlled intensity, locking the dancefloor into motion. As the track evolves, the rhythmic pressure gradually recedes, allowing a shadowed melodic atmosphere to emerge in the final moments, adding depth and contrast without losing its dark identity.
B) Torture ventures into a more industrial realm. Dense textures, mechanical tension and hypnotic repetition shape its core, creating a sustained rhythmic strain. Then, when the pulse finally withdraws, the structure opens into a striking melodic finale, transforming the track into a suspended, almost cinematic closing atmosphere.
With OBSCURE, Michael Forzza explores the fragile line between impact and introspection, pressure and release. A release crafted for intense peak-time moments and the shadows that follow.
Français
Michael Forzza dévoile Obscure, un EP deux titres qui explore les territoires les plus sombres de la techno atmosphérique avec précision et intensité.
A) Obscure est un véritable track peak time, porté par une puissance percussive affirmée et un groove implacable. La tension rythmique s’installe et maintient le dancefloor sous pression, avant de s’effacer progressivement en fin de morceau pour laisser émerger une atmosphère sombre et mélodique, apportant profondeur et contraste.
B) Torture s’aventure dans une dimension plus industrielle. Textures denses, tension mécanique et répétition hypnotique construisent une montée intense. Puis, lorsque la pression rythmique disparaît, le titre bascule vers une finale mélodique surprenante, transformant l’énergie brute en une atmosphère finale plus immersive.
Avec OBSCURE, Michael Forzza joue sur l’équilibre entre impact et relâchement, puissance et émotion. Un EP taillé pour les heures sombres et les dancefloors exigeants.
When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.
Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.
"Melodic, dreamy bedroom pop with a nostalgic sheen" is how Tom Davies, creator of brand new dream-pop artist Flopsy's dream, describes this charming little album.
Some of you may know him as GeoWizard; the mad British adventurer/YouTuber who travels in straight lines, but here you get to see or indeed hear a completely different side to him - one that sings in soft, tuneful tones reminiscent of Damon Albarn or Ray Davies, builds ethereal, layered harmonies that wouldn't sound out of place on a Fleet Foxes track, and crafts gorgeous guitar and synth parts that could easily have come straight out of John Frusciante or Kevin Parker's handbook.
Written in a young Davies's bedroom between the years of 2008 and 2014, the songs themselves are far from brand new, but with the help of his good friend and writing partner Liam Rhodes (with whom he played in Birmingham Psychedelic outfit "Kinds of light"), Davies has brought these sentimental tracks to life whilst keeping them bang in line with their original vision.
The result is an album that doesn't really fit into any specific genre, in fact you could argue it's just regular old generic pop, but there's an innocence and a playfulness in there that disarms the listener and transports them to a simpler time when melody ruled supreme.
Producer and bassist Huw Marc Bennett presents ‘Tresilian Bay’, a new project that draws from artists such as Tim Maia, Augustus Pablo and Idris Muhammed as much as the jazz scene and community he has found in south-east London. The languid, sultry sound fuses both modern and vintage, travelling from South London electronica, to Brazillian groove, Nigerian Afrobeat and Ghanaian Highlife along with a streak of Welsh psychedelia.
‘Tresilian Bay’ is a nod to hedonistic summer nights, whether spent on the Glamorgan coast or the hot Lewisham streets. The album is titled in honour of the bay near where Huw grew up, an area steeped in stories of ancient Welsh royalty, smugglers and pirates.
The album started out as a lost live session recorded at the Total Refreshment Centre studios, featuring Chelsea Carmichael (sax), Rosie Turton (trombone), Shirley Tetteh (guitar) and Jake Long (drums) with Huw at the helm on bass and compositions. With glorious vocal contributions from Miryam Solomon; Huw utilised his human style of production and multi instrumentality heard in his Susso project (Soundway Records, 2016) to mold these recordings into this mature and emotional debut.
The album was mixed and mastered by Albert's Favourites co-founder Adam Scrimshire with artwork by Jonny Drop.
Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.
Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.
Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.
Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!
Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.
Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles—it's a thoughtful exploration of the intersections between two rich musical traditions.
Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius. Add Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Colin Edwin and Vlastur’s serious basslines, and the
result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.
Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.
In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.
Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.
A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.
It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.
The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.
There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.
‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.
In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.
Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.
VISOLUX is back and excited with a very special release.
This one was crafted in Lille by our homegrown artist and dear friend, Dyswalter, in the very garage where all the Kepler-129 adventures started, where generators and equipment were stored, after-parties went on and special music was made.
Dyswalter has been performing live with Kepler for years, bringing his special energy and obvious UK influence to the dancefloor. Finally printing his music feels as a most satisfying outcome for the label.
Ubisoft and Laced Records have forged a new trade alliance, expanding their economic tree to bring the lavish music of Anno 117: Pax Romana to glorious vinyl.
This vinyl set celebrates the ornate score for Ubisoft's richly detailed city builder, capturing the spirit and splendour of the Roman Empire at its peak. From the beautiful heartland of Latium to the mysterious Celtic wetlands of Albion (where no civilized Roman wants to be), every musical cue is steeped in world-building and crafted with remarkable care.
The outer sleeve features striking landscape art from the game, while the inner sleeves present detailed track lists framed with ornate motifs inspired by Roman architecture and pattern work. The result is a set that feels like a treasure from the imperial archives.
The soundtrack charts a journey across the empire, weaving together atmospheric strings, ancient-inspired instrumentation, and sweeping orchestral cues that capture both the serenity of prosperous provinces and the political tensions throughout. The music reflects every choice you, the governor, must make. Diplomacy or domination, tradition or transformation. An emotionally rich and immersive soundtrack worthy of Rome itself.
The eight long play on the label comes from none other than UK electro royalty – Transparent Sound. If you have been following the music world for a while, then you would know this name as it’s been on the radars since the 1994. From the beginning it was a synergy between two artists Orson Bramley and Martin Brown, now the project solely run by Orson and he is presenting us Potent Mystery, an electro album in the best possible execution of this genre filled with melody and mystery. For the remix duties stepped up Acidulant the Maltese based hardware guru and the master of live sets from Bristol – Ben Pest. Each of these men and stellar artists have spent numerous years perfecting the craft of the electronic music which have resulted of this album being born as we can hear it now. Electro. Magnetic. Radiation.
In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.
mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).
Infinity EP is Devilish Affair at its core: deep house music crafted with elegance, a soundtrack for late-night minds and uncertain times. Devilish Affair returns with its sixth vinyl chapter: Infinity EP, a deeply personal and elegant statement from Alex V.
Born in Barcelona and shaped by the late-90s deep house spirit, Alex has spent decades refining a sound that feels both timeless and intimate, music built on warmth, subtle swing, and an unmistakable sense of romance.
Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.
In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".
"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."
Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.
Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"
The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.
Swiss label Mormorio Records returns with its sixth release.
MOR006 is delivered by Zürich-based artist Aline, presenting two original tracks that move between subtle grooves, reduced textures and a warm, driving flow.
On remix duties, Paul K and Lorik each bring their own perspective to the record, stretching the originals into deeper territories while keeping the essence intact. The result is a balanced release that works as well on intimate dancefloors as it does in late-night sessions.
MOR006 continues the label’s focus on understated, carefully crafted club music, rooted in the Swiss underground scene.
Returning to Winthorpe after a five-year hiatus, Irish electro producer DeFeKT delivers a heavyweight 12-inch packed with four cuts of his unmistakable electro-techno hybrid sound, reaffirming his status as a true underground craftsman. Opening with the low-slung bass bounce of "It's Down", before sliding into the Detroit-influenced groove of "Your Body Will Learn", from there DeFeKT turns up the tension with the twisted, menacing pulse of Overcome before closing the release in epic fashion with the widescreen synth swagger of "Always"! A confident, statement from an artist firmly back in his element.
Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.
A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.
On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.
The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.
Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”
DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.
Costas Music returns with its third release after a period of silence, delivering a timeless club-oriented EP from label head Costas, with remixes by Baldo and Youandewan.
It's Me Again sets the tone with rolling 90s-influenced drums, groovy basslines and subtle acid touches, driven by a raw dancefloor energy and atmospheric pads in the breakdowns. Barcelona’s Baldo steps in with a powerful remix, reshaping the track into a peak-time club weapon.
On the flip, Waterphone dives into hypnotic territory with evolving textures and stripped-back grooves built for late-night floors. UK underground favourite Youandewan delivers a distinctive reinterpretation, injecting his signature trippy swing and deep rhythmic flow.
Closing the EP, Drako drifts into cinematic soundscapes and immersive atmospheres, offering a deep and reflective ending to the record.
Deep, acid-tinged underground house with strong 90s influences — crafted for modern dancefloors.
_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.
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.
Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.
From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.
Raw. Deep. Unstoppable.
Born from a transatlantic collaboration, this vinyl delivers soulful house music in all its
shades. Jazzy chords collide with African roots, creating a warm, driving and
uncompromising sound. Four carefully crafted club bangers for every hour of the night
— hypnotic, uplifting, and impossible to let go.
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.
Building a temple of sound from reduced elements, Decoder's Alchemy EP on T3R allows selected components to generate a strong and steady drive. Using a distinctly organic sound palette, the tone of the release is wordly, sometimes almost wooden with space taking the role of an active element. When melodies or chords appear, they introduce a subtle sense of melancholy, adding emotional weight without pulling the music away from its physicality. In its unfolding storyline, the EP suggests a broader narrative. While each piece explores a slightly different soundscaping approach, a consistent DNA runs through the release - reinforced by Sanskrit and Hindu references as an underlying conceptual thread. Percussion is handled with precision and imagination: Grooves shift, evolve, and reconfigure. Dark, driving sequences are softened by airy pads and atmospheric layers, creating a dual feeling of intensity and serenity. Filters and reverbs are applied with restraint, giving the music a sense of movement and breath. Alchemy showcases an emerging artistic voice driven by aspiration and exploration. Through confident craftsmanship, genuineness and self-reflection translate into a perfectly balanced, inspiring release. ? 2026 The Third Room Written and Produced by Gautham Gaug Mixdown and Mastering by Ahmet Sisman (The Third Room Studios) Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact
Wilt returns with a new deep house EP on his own label, Thé Chaud Records. The French DJ and producer delivers a twosided release showcasing his dual approach to club music.
On the A-side, Wilt settles into a deep, late-night groove with two carefully crafted cuts built for the floor. Crisp drums and warm, rolling basslines drive a steady pulse, with subtle arrangements that let the tracks breathe. The B-side highlights his love for old-school sampling, blending warm textures and nostalgic touches into a more intimate, soulful atmosphere. A concise yet balanced EP, moving between refined club functionality and timeless deep house depth.
WRWTFWW Records is very happy to announce the release of Nighthawks, the new collaborative album from composer Azumi Okamura and musician / sound designer Andrea Esperti, available on limited edition LP (300 copies worldwide!) cut at 45rpm, and housed in a heavyweight sleeve with inside-out print.
A sublime convergence of Japanese piano poetry and Swiss sonic craftsmanship, Nighthawks brings together Azumi Okamura's intimate, emotionally resonant compositions with Andrea Esperti's refined approach to sound design. Esperti is known for his work alongside ambient legend Takashi Kokubo, and here he extends that sensibility into an intimate and immersive space.
Echoes of dreams from an imaginary world drift through the album: forgotten memories rising gently, only to fade again. The music unfolds like a series of inner scenes - reflective, rich with atmosphere - where minimal piano motifs meet organic textures and subtle electronic detail.
Rooted in the emotional solitude of Edward Hopper's urban landscapes, Nighthawks balances stillness and warmth. Gentle, simple melodies glow softly, wrapped in environmental music that evokes autumn air and walks by the beach.
Resisting excess and spectacle, the record embraces poetic minimalism and emotional clarity. Each piece feels suspended in time, offering quiet moments that linger long after the sound has faded...a drifting, cinematic journey shaped by sensitivity and restraint.
Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.
The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...
Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.
Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.
At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.
Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.
To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.
He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.
Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.
Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!
The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.
Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.
Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.
Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).
For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.
The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.
Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".
By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.
By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.
Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.
Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.
Valvula Records returns with its third EP, reinforcing its identity through a powerful release that brings together Swedish and Brazilian artists in a compelling convergence of contemporary Techno. The project highlights the creative strength of artists who are actively shaping Raw and Hypnotic Techno with personality, consistency, and a clear artistic vision.
Alexander Johansson and Mattias Fridell deliver an intense and precisely crafted collaboration, reflecting the maturity of a partnership built on deep, impactful productions. Brankelo continues to expand his international presence following recent releases on the renowned Planet Rhythm, contributing a track driven by raw energy and sonic intensity.
Sev Dah maintains his distinctive contemporary groove, offering an exclusive track that adds tension and movement to the EP. Alvinho L. Noise and Steel Force join forces on a hypnotic, driving track powered by a solid and immersive groove, reinforcing the EP's raw and uncompromising character.
Designed for the dancefloor, DJs, and true Techno enthusiasts, this release marks another strong step forward for Valvula Records in building an authentic and relevant catalog.
Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.
The super rework magician Scruscru has been cooking up more goodness for Volume two of Blur's ReWax EP, and it's packed with disco-meets-jazz house class. First up, he tackles Sweet Fruity Brunch's 'Red Parrot' and makes it into a rolling jam with lush pads. Elsewhere, 'Rhythm Roulette' has punchy drums but plenty of piano euphoria, 'Matine' becomes a coy and funky number and 'Gift Of Love' is a romantic heart 'WalkToWalkIN' is a shuffling and jazzy vibe and 'Empyrean Jazz' closes with some spiritual percussion and gentle horns that will always seduce once the lights go low.
VA – Parallel Sequences continues MixCult Records’ tradition of curating forward-thinking soundscapes for refined dancefloors. This four-track compilation brings together the finely tuned craftsmanship of Kirill Matveev, Genning, Overt, and Dawn Gab — producers with surgical precision and a deep understanding of space, groove, and sonic narrative. Together, they present a multi-faceted EP rooted in dub techno and tech house, designed with intention and built to navigate a wide emotional range throughout the night.
A1. Kirill Matveev – Never Losing That Track (Overt Remix) is a masterclass in momentum. It rises patiently yet confidently — perfect for steering the atmosphere toward something uplifting, with each element unfolding with deliberate purpose.
A2. Genning – Parallel shifts the energy into shadowy territory. Deep, dubby, and melancholic, it acts as a reset moment — cooling the air while preserving depth, tension, and forward motion.
On the flip, B1. Dawn Gab – Call Of The Wind moves between melodic phrases and swinging percussive patterns, offering a graceful push-and-pull that feels fluid, textured, and inviting.
Finally, B2. Genning & Kirill Matveev – Blueberry brings the release to its emotional peak with bright, expressive energy. Melodic and high-spirited, it is engineered precisely for a euphoric moment on the floor.
This EP is a toolkit for thoughtful selectors — designed to glide through introspection, propulsion, and release with clarity and finesse. Whether opening a night, shaping the arc, or closing with warmth, Parallel Sequences delivers depth, agility, and emotional charge in perfect balance.
Chinaski opens 2026 with SOULMEEX record label exactly where he thrives best: suspended between nostalgia and futurism, melody and motion. Known for his synth-forward language and cinematic instincts, the Berlin-based producer delivers a release that feels both playful and sharply intentional, channeling emotion without sacrificing precision.
Across the EP, Chinaski revisits the spirit of Italo through a contemporary lens, shaping glistening arpeggios, buoyant basslines, elastic grooves and joyful synth stabs into five tracks that move effortlessly between the dancefloor and the imagination. There’s an unmistakable sense of lightness here-music that doesn’t overthink itself, yet is clearly crafted by someone who understands form, tension and release.
Rather than leaning on retro tropes, Chinaski treats dance music as a living, breathing language. The melodies feel familiar but never predictable; the rhythms pulse with warmth and confidence. An unforced sense of freedom runs through the release, inviting repeated listens and late-night moments alike.
With this EP, SOULMEEX sets the tone for 2026 with clarity and purpose, and Chinaski delivers the spell-subtle, melodic, and quietly irresistible.
