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"Trésor Magnétique" ist eine Zusammenstellung unveröffentlichter Tracks und vernachlässigter Schätze aus dem Vermächtnis des legendären, kamerunisch-französischen Musikers/Schriftstellers Francis Bebey. Sorgfältig digitalisiert in den Abbey Road Studios, strahlen sie eine Klarheit und Dringlichkeit aus, die den Jahrzehnten seit ihrer Entstehung bis zur Jetztzeit trotzt. "Trésor Magnétique" ist keine verstaubte Retrospektive, sondern ein lebendiger, atmender Dialog mit der Gegenwart und der perfekte Einstieg in eine umfangreiche Diskografie, die sich fliessend zwischen tanzbarem Afro-Funk, folkloristischen Gesängen, politisch aufgeladenen Kommentaren und schimmernden elektronischen Erkundungen bewegt. Francis Bebey war seiner Zeit nicht nur voraus – er prägte seine eigene Zeit. Wir entdecken hier nicht nur verlorene Artefakte, sondern werden mit Ideen konfrontiert, die heute noch radikal und relevant sind.

The latest transmission on Samurai tunes into half-time intensity with a psychedelic edge courtesy of leading French practitioner Vardae. Applying techno hypnotism and cinematic atmospheres to his snaking beat constructions, the Lyon-based artist delivers a pitch-perfect exercise in mystical meditation that follows a natural path from the Ancestral Voices LP.

Since first emerging around 2017, Vardae has been determined to establish a sound unbound by genre restrictions. To date he's successfully moved between cult labels such as Non Series and Ooda while pivoting from linear 4/4 to crooked broken beat without disrupting his immersive, finely sculpted production style.
Alongside his releases, Vardae is also responsible for the ouroboros festival that takes place every year in central France. Last summer, after the dancefloor closed on the final night of the the event, fabled Dutch transcendental ambient group Son Of Chi made an acoustic concert around the campfire that cast a spell over everyone present. This experience formed the inspirational basis for Vardae's new EP, drawing on the instinctive power of insistent rhythm and the spiritual intrigue that lies behind subtly dissonant tones - shadows cast by refined, restrained synthesis flickering in the imagined light of the flames.

From the rattle of timbale on 'The Light Motion' to the laser-focused ripples that charge through 'Voices Of Dispossession', Vardae bends and shapes his drum work with exacting intention across this EP. Treading the line between 85 and 170BPM, he approaches fierce peaks in his tracks with an exacting patience, building to the arp-soaked climax of 'Flaming As A Cloud' and its ecstatic, melodic crescendo.
Proudly individual and drawing from the deepest of musical experiences, Vardae's latest statement promises similarly profound moments when these pieces come into contact with the right souls and the right sound in the right setting.

Music in the soul can be heard by the universe. This record is not considered a product, but rather a time stamp of the underground minimal house music culture of 2025. Thank you, Mother Nature, for providing the materials that allow humans to express their creativity. Mastered by: Rob Small. Graphics: Peter Koblinger

CS003, our next offering on wax, is home-grown. The Instruction EP features three original productions by label co-founder Niall Kelly complimented by a remix from the inimitable Carl Finlow. Niall’s debut EP showcases his prowess as producer harking to a pool of influences found in the sonic DNA of our hometown of Leeds, with added firepower provided by a legendary artist with close ties to the city.

Echoes of the rowdy bygone Mint Club ooze through the slappy tech house roller ’Section 1’ which opens the record. The chunky basslines retro synths and robotic vocoder connect the dots from Niall’s palette to the unmistakeable sound of Yorkshire Bleep on ‘Seven Wolves’. Carl’s treatment of ‘Section 1’ pivots into a darker, dystopian soundscape full of fizzing hi hats and dizzying synths that amalgamate into a dancefloor shaker that is unmistakably Finlow. The EP is rounded off by Groove Key, a track which serves up a special disorientating euphoria designed to be heard on large soundsystems and felt deep within your bones.

A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

here may still be electronic music artists in this age of overflow and convenience who follow their own artistic vision regardless of what attention it might bring, if any. With an output that shows individualism, ideas and a signature sound. An ongoing creative process, uncompromising and adventurous, even eccentric, with results of consistent quality and determination. Dennis Busch aka James Din A4 is an archetypical example for this type of artist. He flooded the scene with releases in the 00s with numerous monikers, mostly on his own Esel imprint, and they were all great. On the outside you had his singular artworks (he is also a very accomplished collage artist) and quirkily humorous titles, and on the inside you had his music, also seemingly informed by a collage approach (only with samples), managing to sound focussed and out of focus, often at the same time. If you listen to a James Din A4 track it probably is simultaneously playful and disciplined. Anything can happen, and a lot if it actually does.

For quite some years, music releases by James Din A 4 were scarce. Jan Jelinek, an ardent fan, re-interpreted some of his favourites from the vast back catalogue as an album in 2014, then ten years later the album „Ins Licht“ appeared, and it quite nonchalantly continued what seemed to have stopped, right on the same level of greatness. And now we know that it still continues, as the label Live At Robert Johnson releases the new album „Never Look Back“. Its title should not be taken too literally, as all the trademarks of his musical legacy are perfectly intact. You will find the light and air that seems to seep through the sounds, the frisky structural details, the jolly melodies, the subtle deepness, the minimalistic yet not too strict grooves.

But do not be mistaken, this album is not looking back too much, of course. After all, this is music that is still evolving. Let’s hope for more glimpses of James Din A4‘s special and spacious world, they are ever
needed.

The album "THE ENTITY" is an esoteric-horror concept composed of 12 tracks (plus one bonus track) dedicated to The
Entity, the central figure of the DEATH SS project. Its literary inspirations range from Aleister Crowley—who sought to
free mankind by awakening its artistic genius—to characters by Hogg and Stevenson, who delve into the dark side of
human nature. It features figures such as Jack the Ripper, Walter Sickert, Cimiteria, and others, all deeply connected to
the band’s mythology. Produced by Tom Dalgety, renowned for his work with Ghost, The Cult, Rammstein, and more.

We’re hyped to welcome back the French producer Carriego, who already made waves with a standout EP on our sister label Cosa Vostra. This time, he lands on Griffé with a four-tracker that dives deep into stripped-back grooves, rhythmic precision, and textured soundscapes.

True to his style, Carriego merges Detroit roots with early 2000s minimal vibes—tight drum machine programming, detailed sound design, and a strong focus on mood and arrangement. The drums hit with intent, and every element feels built for purpose.

The EP unfolds like a proper journey: Hazard sets the tone with tension and space—ideal for an opening move. The Bridge follows up with drive and pressure, perfect for peak-time intensity. Curtain Call brings in a hypnotic, late-night energy, subtly nodding to the Time Passages spirit—refined, trippy, and deep. Then comes Seems Like to close the ride—more introspective, with a dub techno edge that lets everything breathe again.

Techno, minimal, electro, dub—Carriego connects the dots without forcing it. Just functional, thoughtful club music that works on multiple levels.

BOOOoo! is back with a new VA gathering Ildec, Pagenty, Phase O'Matic, Gogo Gadgeto & label-head BOOH!

The fourth installment has been carefully curated to showcase five distinct facets of the darker side of the electro scene, while maintaining a softer, more accessible edge. Each track is suitable for both daytime and nighttime play.

Change, founded in 1980 by Mauro Malavasi, Jacques Fred Petrus, Davide Romani, and
Paolo Gianolio, is a legendary band on the interna#onal soul/disco scene, renowned for
launching iconic voices such as Luther Vandross and Jocelyn Brown.
Their debut album, The Glow of Love, was produced in 1979 between Bologna and New
York. Widely regarded as one of the greatest disco/soul/funk LPs of all #me, it achieved
enormous interna#onal success. It was the first Italian produc#on in this genre to enter the
Billboard 200 chart, peaking at #29 and earning a Gold Record. The singles “A Lover’s
Holiday” (Top 40 on the Billboard Hot 100), “Searching,” and the #tle track “The Glow of
Love” (which reached #2 in Italy) solidified the album’s global impact.
So influen#al was the record that in 2001, Janet Jackson sampled the #tle track for her hit
“All for You,” which went on to win the Grammy Award for Best R&B Recording.
Throughout the 1980s, Change released five addi#onal albums:
• Miracles (1981)
• Sharing
Your Love (1982)
• This Is Your Time (1983)
• Change of Heart (1984, produced by Jimmy
Jam & Terry Lewis)
• Turn on Your Radio (1985)
In 2010, the previously unreleased album Change Your Mind—recorded in the 1990s and
produced by Davide Romani—was finally released.
In 2018, aEer a 33-year hiatus, Love 4
Love marked the band’s comeback. Produced by Romani and Stefano Colombo, the album
introduced vocalist Tanya Michelle Smith and featured eight original tracks wriGen by
Romani, Malavasi, Colombo, and Elio Baldi Cantù. The singles included:
• “Hit or Miss” (remixed by Soulpersona)
• “Love 4 Love” (also remixed by Joey Negro)
• “Make Me (Go
Crazy)” (remixed by Opolopo)
Embrace (2025), credited to Change feat. Tanya Michelle Smith, represents the natural
musical evolu#on of Love 4 Love. Originally conceived in 2019 as Tanya Michelle Smith’s solo
album, it was later reviewed by producer Stefano Colombo together with Mauro Malavasi,
who approved the material and authorized the use of the name “Change.” Malavasi also
contributed to the cover design and selected the album #tle: Embrace.
The first single, “Sunrise Forever,” was released on January 10. The remix by Michael Gray
reached #1 on Traxsource and ranked high on the UK Soul Chart.
The album’s release was postponed when Davide Romani and Stefano Colombo decided to
complete an unfinished demo from the Love 4 Love sessions. Some original parts were lost
due to a corrupted backup, but in 2025 the track was completely rearranged with a newly
recorded bassline by Romani and fresh backing vocals.
On April 4, the single “Got 2 Get Up” was released across all digital plaOorms, receiving
strong radio airplay across Europe and entering the UK Soul Chart. On May 16, a remix by
renowned Italian duo Micky More & Andy Tee will be released in an#cipa#on of the album.
Embrace includes ten original tracks and one cover.
The album will be available on CD and vinyl, distributed by Self Distribuzione Srl. The first
500 vinyl copies will be issued as a limited “Expanded Edi&on”, including the full album plus
a bonus 12” single with Michael Gray’s remixes of “Sunrise Forever.”

After Deano and Faretrades inaugural release on the Knowledge Imprint DFT sublabel comes a remix pack of those first collaborative tracks. Following the sonic palette of the originals, the artists have enlisted some of their favourite young producers to contribute their interpretations. On the A Side youll find Border One and Quelza, while on the B Side youll
find CONCEPTUAL and D Leria, all of whom put their idiosyncratic touches into the package, guiding the listener through everything from driving and bright to warm and hypnotic. Also contributing an exclusive digital-only remix is Portugals own prodigy Norbak
to round things off in solid fashion.

Kiria Records proudly presents "Vintage A EP", a collection by Direkt that embodies the essence of modern groove with timeless and elegant influences. This EP explores different sonic shades, perfect for enriching any moment of a DJ set.

On side A, we have "Vintage A", a track that stands out for its sophisticated groove and immersive structure. The blend of delicate synths and sharp percussion creates an atmosphere perfect for lighting up the dancefloor and taking listeners on a hypnotic journey. Following that, Cally’s remix delivers an innovative and minimal reinterpretation of the original track. With tight rhythms and subtle nuances, this version captivates the audience and adds depth to transitional moments.

On side B, "Best Kick Forward" opens with a powerful rhythmic drive, characterized by strong basslines and an engaging progression, making it perfect for the most dynamic moments of a set. Closing the EP is "Fragments", a track that plays with atmospheric elements and refined grooves. Intricate percussion and ethereal melodies intertwine to create a finale that leaves a lasting impression.

With "Vintage A EP", Direkt and Kiria Records deliver a must-have musical chapter, crafted for DJs and collectors seeking unique and uncompromising sounds.

Simon Herody put together a live solo performance sequencing electronic devices on stage for him to jam over with acoustic instruments. He played a lot in hotels and lobbies. The music had to be present but not too intrusive. Subtle electronics to guide his saxophone and flute playing. The setup proved successful and inspired him to compose the works that would become 'Hard Lounge'.

'At the same time, I was working at a bar/record store in Neukölln called Motif. Everything changed when I discovered the album "Heisei No Oto - Japanese Left-field Pop From The CD Age." I remember this guy, Jamie, who would sometimes bring new releases to the shop. This album really changed things for me; I was constantly playing it and it inspired the creation of these works tremendously.

The composition process for "Hard Lounge" was pretty unclear. I never really made conscious choices; I wanted to escape the conflicts that come with picking the right chords. I aimed to create music that transports your imagination to a sort of retro 80s jazz lounge, where people feel comfortable and at ease just sitting and listening. I wanted to act like a music designer, giving people a chance to listen without demanding too much of their attention.'

Hikari to Kage is the next chapter in the story of Wabi Sabi Audio Imprint, diving into the experimental and ambient realms of electronic music.

This beautiful album comes from the hands of Sarah Wreath, a German artist whose unique approach to sound exploration captured our hearts the moment we saw her live at Monument.

The album It's a narrative, an introspective journey that doesn't tell you what to feel but gently guides you toward your own perspective.

Three incredible remixes by DJ Hi-C, Pianeti Sintetici, and Jorge Fons bring their own vision of Sarah's music, each artist weaving their own story within Sarah's framework. Like Yin and Yang, light and shadow exist in balance, defining the beauty of the other-this is Hikari to Kage.

On this new imprint, we welcome two french producers who love the raw grain of the machines and the dark groove of oscilloscopes. On the A-side, the veteran Kragg, who released some nuggets on Transient Force or Militant Science in the 2000's. On the B-Side, RTR, known for some bomb records on WeMe Records or Analogical Force. From electro to techno, from euphoria to melancholy, here are 6 tracks that will definitely blow your mind, acid junkies !

Cool Up Records presents the new 7-inch vinyl single by Spanish singer Sailor Smile. The record includes the tracks "Small Baby" and "Let Me Shine", both from her recent EP Desire.

Following the warm reception of the 7-inch single “I Put a Spell on You” in 2024, also featuring Sailor Smile, the Spanish label reaffirms its commitment to the artist. This new release moves beyond the reggae sound of previous productions, while preserving the signature style that defines Cool Up’s work.

On A-side, “Small Baby” is a Soul tune with a solid groove and plenty of character. On B-side, “Let Me Shine” is a Ska track featuring a vocal collaboration with Tenor Mario, who also co-produced both tracks. Together, they deliver a vibrant duet full of energy and party vibes.

Both tracks stand out for their horns arrangements by Sherlock Horns, which add richness and cohesion to the production, solidifying a distinctive sound within the label's catalog.

The vinyl design, created by Mr. John Vanilla, maintains the aesthetic line of Cool Up Records' 7"collection.

The first new Electro Clash tracks from Break 3000 since 2003! After a string of re-issues of old gems on Italy's "Mondo Phase", the Argentinian label "Calypso's Dream" and his own "Electron Feel" last year, Break 3000 is finally back with some new original cuts!

The A-side "Electronique" has all the ingredients you would want from a hard-hitting Electro Clash track. EBM style drums and a powerful raw bass line topped with soaring rave leads and pads and added original (Vocoder) vocals by Break 3000 himself. This one is road tested already on dance floors and big systems and a guaranteed crowd pleaser! Second up is the driving "Continua", leaning more towards Break 3000 Techno classics like "Flash" and "Fix" this filtered rave lead will make a wild crowd go even wilder. Dark and twisted Electro Techno at its best.

The B-side opens with another aspect of the Break 3000 sound spectrum. We look back to the early years here and to songs like "The Wait" and "Spacemaschinenreise" that were produced in 1999. In a Detroit meets Rotterdam styled Electro setting this song uses a lot of the old sounds from 26 years ago, mostly coming from his original EMU sampler used at the time and a great 80s vocal sample gives this track it's title. We are transported back to the golden era of Cold Wave here. Closing out this new EP is the wonderful Marcello Giordani from Parma, Italy who build a strong reputation with his "Italo Deviance" label over the years. He gives the original "Electronique" a great funky "Proto House" bass line in best "Bobby Orlando" manner, what a brilliant crossover track this one is! With the Vermona drum sounds his - Dark Disco meets Early House - jam will certainly be on many DJ's want list.

We hope you enjoy these new tracks! There is more to come… stay tuned!


All tracks are mastered by Salz Mastering in Cologne. Music, Photography & Art by Break 3000.

Renato Cohen, the Brazilian techno and house producer and DJ best known for his iconic track *Pontapé*, has been a powerhouse in the electronic music scene since the late '90s. Born in São Paulo in 1974, Cohen's career has spanned nearly three decades, marked by releases on some of the industry's most respected labels, including Carl Cox's Intec, Technasia's Sino, Marc Romboy's Systematic, Pets Recordings, and Defected. Known not only for his studio work but also for his dynamic live P.A. shows, Cohen is a true legend. We had the fortune to connect with him after a Boiler Room set in Brazil where he played *Sting the Floor*, a true floor-filler that electrified the room. Since then, our friendship has flourished, leading to this powerful EP. The EP features « Roaring », an outstanding house track that channels Cohen's heart and soul into every arpeggio and swirling melody, bringing to mind the best of Todd Terje's hypnotic grooves. It's a piece that builds momentum with finesse, crafting a sound both grand and intimate, resonating with every listener. « Roaring » is Cohen's homage to house music—a track that encapsulates his passion and mastery. Accompanying « Roaring » is « Wet Desert », a high-caliber production that's as immersive as it is intense. The track carries a deep, evocative energy, combining Cohen's deft touch with an expansive, desert-inspired soundscape. Through our connection, we've brought in The Floorfillers for an acid remix of « Roaring », putting a fresh twist on Cohen's original with a pulsating acid bassline that's reminiscent of our own « Edit1 ». It's a version that takes « Roaring » to new, harder-hitting heights, perfect for late-night dance floors. To complete this standout release, Skylax's own Maltitz has crafted a stunning Italo-Balearic remix, drawing from the spirit of the late David Mancuso. With its warm, nostalgic vibes, Maltitz's remix adds a lush, sun-soaked dimension to « Roaring », perfect for balmy evenings and open-air gatherings. This EP marks a powerful comeback for Renato Cohen, celebrating his career while pushing forward with new, fresh sounds that honor his legacy.

2025 Repress!

OFF / GRID makes a captivating debut on Life In Patterns with his 'Sonic Spectrum' EP. Previously recognized as an underground gem in the techno scene due to his acclaimed, self-released EP, 'Time To Shine,' the Hamburg-based producer has garnered significant attention in 2023 with EP releases on labels like Planet Rhythm, Uncage, DifferentSound, and Entourage Concept.

On LIP009, he presents four meticulously crafted vinyl tracks and a digital bonus track, each a testament to his remarkable talent for creating hard-hitting, euphoric DJ tools. His music is distinguished by cutting stabs, hypnotic acid lines, and a distinct dub influence, all seamlessly woven together with powerful drum sounds.

For our 16th records,

From Paris to Balkans Vol.2 is the 2nd chapter of this special serie,
a compilation with 4 tracks from similar styles, deep, dubtechno and minimal.


The opening track Aeki, signed by Sublee, is a combination of techno and deep-minimal where deepness meets energy,


Chorganic by Petit Batou is an assembly of magnificent chords and hypnotic synths which intertwine on a deep groove


Opium's Dust Yard, is a journey into his meticulous and melodic sound from deep-house


Atmo's Shyam, is an hypno travel with dancing drums and fx, which enhance the trippy groove of the work


4 unique tracks to play on any dancefloor


Vinyl Only

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

Little Simz hat ihr sechstes Album Lotus angekündigt, das am 9. Mai über Awal Recordings erscheinen wird. Gleichzeitig präsentiert sie die erste Single Flood, featuring Obongjayar und Moonchild Sanelly. Der Albumtitel Lotus steht für Simz als Symbol für Erneuerung und Wachstum – ein zentrales Thema, das sich durch die musikalische und inhaltliche Reise des Albums zieht und die komplexen Phasen des Lebens reflektiert.

Little Simz gilt als eine der spannendsten und visionärsten Künstlerinnen Großbritanniens – Musikerin, Geschichtenerzählerin und Kulturkuratorin zugleich. So wird sie das diesjährige Meltdown Festival in London kuratieren, wie zuvor schon Superstars wie David Bowie, Yoko Ono, The Queens oder David Byrne. Mit mehreren Brit Awards, MOBOs und einem Ivor Novello Award sowie einer beeindruckenden Diskografie aus Mixtapes, EPs und fünf von Kritikern gefeierten Alben erzählt ihre Musik ihre eigene Geschichte – und die einer ganzen Generation. Simz' Vorgängeralbum "No Thank You" Ende 2022 hat es hierzulande auf die #11 der Charts geschafft. Im Jahr 2023 setzte sie ihren Weg als gefeierte Schauspielerin fort und kehrte in der letzten Staffel des Netflix-Dramas Top Boy zurück. Little Simz' Auftritt auf der Pyramid Stage des Glastonbury Festivals im Jahr 2024 festigte ihren Ruf als unnachahmliche Live-Performerin.

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of thebest crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers aroundto curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both hisown and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything havingto sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

Kerrie is back on James Ruskin's Blueprint for her third EP. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design. Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.



Irish-born, Manchester-based Kerrie is a multidisciplinary artist and DJ. Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops, Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020, and also debuted on Blueprint Records with her "Raw Regimen" EP.Truly welcomed to the Blueprint family, Kerrie delivered her second EP "Transient Belief" in 2023 and joined the crew at label showcases around the globe.

Since 2023 she has been fully committed to the studio and accommodating her increasingly busy tour schedule, forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

She's now back on James Ruskin's label for her third Blueprint outing. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design.

Crowns by The Rebel feat. Corey James Gray is out now on 7’’ via Little Beat More!
The Rebel, aka Tommaso Taroni, producer from Rome and Founder of DJ’s Choice label, delivers a raw, soulful track that opens the door to his debut album. Crowns features the sharp lyrics and smooth, magnetic delivery by Corey James Gray (FKA Ill Spookin), riding over a sturdy groove with crisp drums and deep guitar loops.
On Side B a further explosion comes: Clap! Clap! signs a Power Trio remix of the track that flips everything on its head. With thunderous syncopated riddim and wild brass stabs, this version hits like a futuristic brass band from New Orleans: unrelenting, joyful, and rhythmically overpowering. A bold reimagining by one of Italy’s most visionary electronic producers.
Packaged in a stunning disco bag illustrated by El Moro, this 7” is both a record to play and a piece to keep. A snapshot of a fresh project in the pipeline, ready to go!

RAWAX proudly welcomes Mystic Bill to the artist Family.
As big fans, we are more than happy to present you this great producer on CHIWAX.
„Chicago School Of Jazz Vol. 1“ is beautiful Hommage to the artists and music of the Windy City.

LP vinyl only release + 4 page liner notes (comes with hype sticker)

The percussive new age soundtracks of '80s and early '90s Japanese TV, anime and manga built alternative worlds and pushed boundaries in the process.

When Japanese composer Yas-Kaz left Tokyo for Bali in the mid 1970s he had little idea of how influential his trip would become. In studying the storied art of gamelan, the jazz and avant-garde percussionist opened a door to a world of sound and rhythm left behind by the West. The music he and his contemporaries made would become known as new age. It also happened to soundtrack the golden era of anime.

Awash with money and with the prerogative to entertain the burgeoning middle classes, anime in the 1980s experienced a creative and commercial boom. Not constricted by generic expectations, production houses such as the now renowned Studio Ghibli were able to experiment liberally with both form and content. And with it came the space for composers to be similarly adventurous.

TV, Anime & Manga New Age Soundtracks 1984-1993 charts this moment across eight tracks spanning classics of the genre and previously unknown rarities. The collection brings together music that found kinship in electronic and acoustic instrumentation, often combining spiritual or environmental themes with percussive, varied and highly refined syncopations of non-Western musical traditions.

Among them is ‘Kaneda’ by Geinoh Yamashirogumi, the shape-shifting group of self-styled musicians, anthropologists and computer scientists that masterminded the soundtrack to game-changing dystopian anime Akira - and with whom the sound, tuning and breakneck speed of Balinese gamelan has become indelibly entwined.

Reflecting the desires of the era to reach beyond Japan’s borders, many of the soundtracks featured were commissioned for narratives set in distant lands or alternative worlds. There’s violinist and composer Norihiro Tsuru’s ‘Farsighted Person’, written for The Heroic Legend of Arslān, set in ancient Persia; Yas-Kaz’s own ‘Hei (Theme of Shikioni)’, for period sci-fi manga & anime series Peacock King - Spirit Warrior; and two tracks - Tassili N’Ajjer and Fiesta Del Fuego - from Yoichiro Yoshikawa’s soundtrack to NHK’s proto-Planet Earth series The Miracle Planet.

Such was the variety and quality of the music produced, if there is a guiding principle to the tracks collected here it is a sense of escapism and adventure that came with the confluence of modern electronic instruments and a fascination with percussive traditions.

Elsewhere, pioneering children’s TV composer Chumei Watanabe’s ‘Fushigi Song’ (performed by a vocal group Korogi ‘72) offers a trippy and infectious groove with sonic similarities to Don Cherry’s ‘Brown Rice’; little-known jazz-funk library group Columbia Orchestra showcase the best of Tokyo’s session musicians on ‘Hearts Beats - Theme for Andrew Glasgow’; before lawyer-turned-composer Kan Ogasawara closes out the compilation with a dramatic flourish on ‘Gishin Anki’.

Following on from Time Capsule’s acclaimed deep-dive into the world of manga & anime synth-pop in 2022, this vinyl only collection is set to broaden and diversify an understanding of how soundtracks shaped the sound of new age music in Japan for a generation.

Curators: Kay Suzuki, Rintaro Sekizuka (Vinyl Delivery Service)
Artwork: Tu-yang

DJ Ali returns to Blue Hour Music with a collection of recordings in his signature raw and classic tribal
style with hints of groove, trance and dub-techno.

*all original recordings from mid 90s Estonian released cassettes. Fascinating interpretations of the UK breakbeat and Jungle sounds recorded when the world felt like a much bigger place.

Since hearing the first breakbeats via the Finnish radio nightly shows introducing the burgeoning UK scene, Virko Veskoja, later head figure of Lu:k, was completely swept away by this new technological language that sounded like machines trying to initiate contact with people. The fluttering rhythm patterns, strings and vocal lines haunting the pathways of the infinite network. Like hip hop taken over by Skynet.

Reimagining it all in mid-90’s Estonia, a fresh and dirt-poor republic newly welcomed to the family of sovereign states on the outskirts of Eastern Europe, was challenging, to say the least. Finally, with the help of entry level music programs, custom-made soundcards and self-built computers by the other Lu:k-head Tõnis Valk, Lu:k took the first tentative steps in the history of Estonian jungle.

Eight Lu:k cuts have been compiled into a handy selection, a true sign of the times when uncertainty came with certain hope and optimism – new territories to chart, new frontiers to conquer. A time of innocence captured so sublimely in Lu:k’s music.

The compilation starts with menacing orchestration that sounds like the birth of a civilization, like in „2001: A Space Odyssey“, or the arrival of Godzilla, only to give way to sweeeet strings and the inimitable Minnie Riperton in “Lovin U”, combining all the essential elements of Lu:k in a track that has remained uncorroded by time since its inception in 1994.

The following “Demo 3” is its antithesis – fast and nervous, a harbinger of the darker days of neurofunk and techstep ahead. More in line with the social realities of the time, when something (or someone) could materialise out of thin air and attack you just as violently as those beats here.

“La:v” was Lu:k’s signature track throughout their brief career that went on only for a few years, 1994-1997. Lifted to heaven’s by Petula Clarks’s wonderful vocals, it perfectly captures the pure essence of creation. “I made it in my bedroom. Something like that just came out. Sorry”, says Virko apologetically.

From the themes of love we are led towards darker scenarios again with “Drunk-Drive”, a more vengeful cut reminiscent of early Ram Records’ nocturnal dangers, skylines shaped by basslines. Previously only available on the uber-rare “Raadiomaja valvelauas” CD compilation from 2005.

“In the Limelight” is lifted from their second album “Dreams in Drums” from 1996 (only released on cassette), and if it’s meant to address their new-found underground celebrity status in Estonia, there is surprisingly little elation here – the track rather consists of introspective strings and beats that sound almost melancholic.

Out of the remaining three tracks, “Proov2mix” and “Kadunud leitud” are the result of a treasure hunt amongst the old, obsolete harddrives – little nuggets that were condemned to obscurity until now. Between them, another vocal-led cut “010”, a non-album track only featured on two comps until now, is a strong reminder of Lu:k’s prodigious ability to handle vocal lines and morph them together with their own weaving synthetic melodies, strong pads and commanding beats.

Lu:k’s music has been largely unavailable for the better part of this century, with original tapes and CD’s changing hands for a small fortune. This vinyl release couldn’t come at a better time, bringing a seminal chapter of Estonian dance music’s mythical history to light again, both for the old-school acolytes and new converts.

All music by Virko Veskoja

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

For the latest Klasse Wrecks release, the label combine with Japan's finest festival and events crew Rainbow Disco Club to collaboratively present WRECKSRDC. Overrocket were an electro-pop band from Tokyo that enjoyed a grip of great releases in the early 2000s while signed to Neon Discs and its parent label Aten. During a digging session Luca Lozano discovered the forgotten tracks 'Duralumin' and 'Shadow of the Sun' and immediately set out trying to contact the band's members to arrange a re-release and remix. A few months of patient trying, the connection was finally made and wheels were set in motion. Musically the EP conjures up perfectly the sonics of that time, a grey area between analog convention and the unexplored territories of new digital freedom. Shadow Of The Sun is electro-pop perfection, with breezy vocals and a bouncing beat that sounds like nothing else around...past, present or future. Duralumin is a more dancey collection of blips and beats, one that will make sense in the current return to early 2000s aesthetics. To round out the release and propel it into 2025, KW label bosses take a track each and interpret in their own way. Lozano revisits his electro roots with two remixes of Shadow of the Sun, distorted 808s and growling 101 basslines provide a simple backdrop for the perfect vocals. Mr. Ho takes Duralumin into a more driving and pacey direction, upping the energy and excitement with fast percussion and a huge side chained breakdown that recalls the unbridled rawness of the early 2000s, when everything was just a little bit more fun. Keeping within the confines of Japan and in an effort to bring everything full circle, the label enlisted Japanese artist Gonno to master the tracks for an updated modern sound. The tracks themselves being mastered a few miles from where they were originally penned over 20 years ago.

Space Dimension Controller (Ninja Tune, R&S, Dekmantel, Royal Oak) returns with a six-track EP that pays homage to the early 90s Artificial Intelligence era—think Warp Records, ambient techno, and the roots of IDM—but with his signature futuristic twist. While the foundation is unmistakably retrofuturist, SDC propels the sound into new dimensions, blending slow-motion acid lines, ethereal textures, and subtly propulsive rhythms for daydreamers and dancefloors alike.

Repress!

After months of careful preparation, we're thrilled to introduce Hydrostatic Equilibrium HNT002--a full EP by our dear friend and inspiration, Arthur Robert. This release captures the essence of our sonic journey: the A side offers more energetic, driving tracks, while the B side dives into a more mellow and deeper end.

HNT002 features a unique collaboration between Arthur Robert and Aya on the track "Le Sense De La Vie." The artwork cover for this release was also created by Aya.

Originally released in 1985 on the italian label London Records Production, Superbowl (or 93rd Superbowl) is an italo disco project with two big names behind: Gianfranco Bortolotti and Roberto Arduini. Together they created this very recognizable italo disco style based on powerfull bassline and energetic synth leads. Very catchy and dancefloor fillers.

The re-issue includes the same tracklist as the original release, Forever and a Day on A side and Forever and Two Days on B Side (kinda a full vocal dub version).

2025 Repress

Alleviated Records is proud to present a re-mastered classic single, 'Donnie' by THE IT. Produced by Chip E., producer of house classics 'Time To Jack' and 'Like This' (Chip E./Chip E. Inc.) and co-producing 'MB Dance' (Mirage), this is one of the first releases where audiences started to encounter and love Harry (Harri) Dennis' unique style of poetry and Robert Owens' exciting vocal work in 1986. There's also an appearance from Larry Heard, who just happened upon one of the recording sessions. Have fun with the 5 original mixes, including the 'Hardy mix' by Chicago House-Music legend Ron Hardy!

Turkish band islandman release the ‘Bahar’ EP + Bonus tracks for the first time on Vinyl for Record Store Day 2025.

The A side consists of four sublime tracks including ‘Sattava’, ‘Sad Walk’ and ‘Self-Hypnosis’ & title track ‘Bahar’ which is

a firm fan & listener favourite which has racked up over 3 million streams.

The B Side includes 3 tracks never before released on vinyl tracks from the Turkish Trio. Kicking off with "Yorgunum Kaptan” A rework of Cem Karaca’s composition recorded in ’84, which lyrics were initially driven from the poem written by Nazım Hikmet in 1957. This fresh take on the original is an ode to the pioneer and a homage because of being the inspiration for the band from the beginning.

Next up is Nara Nara Nara (islandman Remix) by NaraBara, the Jazz-Fusion band from Mongolia. This is the most recent chugging islandman remix.

Closing off the EP is the fantastic Future Days (Hey! Douglas Remix) which was released in 2018, but still sounds so fresh today.

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

You have been waiting for this for a long time. Ricardo Villalobos approved, Huge edit!!! 12 Inch One Sided white Label Hand stamped. Vinyl only release.

Crash! Boom! Bang! 30-year anniversary celebrated with a unique special edition: a double album in black and white vinyl with 18 tracks and an 8-page booklet.

30 years ago, Roxette released their fifth album "Crash! Boom! Bang!", including a stream of hit singles like "Sleeping In My Car", the title track, "Fireworks", "Run To You" and "Vulnerable". The album would sell more than five million copies and was followed by their second World Tour, which saw them perform for over a million people, including the second performance ever by an international act in China.

“Roxette were among the three most played artists on American radio during 1989, 1990 and 1991, and we were on top of the charts all over the world. So, it's no wonder we felt pretty confident when it was time to record the new album”, Per Gessle says. “Having had that kind of success made us feel that we had a perfect opportunity to stretch out into new directions. To show slightly different sides of what Roxette could be. And I still think "Crash! Boom! Bang" is our best album”. Crash! Boom! Bang! saw chart success upon release, No. 1 in Sweden, No. 2 in Germany and No. 3 in Australia and the UK.

Roxette – Marie Fredriksson and Per Gessle – came out of Sweden in the late 80’s. Their game was pop, their mission to conquer the world. With 33 chart-busting singles and total record sales exceeding 75 million, it seems safe to say “mission accomplished”.

Following the success of his ‘Love Dub So’ EP, Nick Barber’s Doof project returns to Mysticisms, delving back to his earliest recordings of his ground-breaking Trance project, presenting tracks from his previously cassette only release ‘The Love Mixes’.

A youth that had captured the psychedelia of Pink Floyd, Gong, Hawkwind and on to Psychic TV, as a self-taught guitarist, his first trip to India and Thailand in 1989 and witnessing the early electronic dance music at the Full Moon parties, had seemed rudimentary in nature compared to musicality of psychedelic rock.

Returning to England, the electronic / rock crossover of The Shamen’s ‘Progeny’ parties – featuring DJs like Paul Oakenfold and Mixmaster Morris with the live acts of Orbital and Ramjac Corporation – offered something new that turned his head, before finally finding his crew in the legendary squat / underground Pagan parties. There, residents Lol and Yaz first played the new electronic Trance sound, introducing Barber to the music of Eye-Q, Dance To Trance and the hugely influential Pete Namlook.

Recorded between 1990 – 1991, while living in Cambridge to study Philosophy, these are the first versions of tracks that formed the basis of his debut EP on Novamute, in 1993. Working with minimal equipment – an Akai sampler, Roland monosynth, Yamaha delay pedal, all sequenced on an Atari black and white PC and single MIDI output and then recorded straight to an 8-track Tascam cassette multitrack – the exuberance and rawness of the music are full of the excitement and naivety of youth.

Never intended for public release or initially even as a demo, Barber would play the music off the Tascam multitrack for friends at after parties. Dubbing a handful of cassettes himself and personally drawing the covers, around a dozen cassettes were handed out to mates. Eventually one copy found its way to Mute Records, who were looking to launch their dance offshoot, Novamute. Re-edited mixes of Gift Of The Gods and The Nagual appeared on his debut EP and history was made, before Doof went on to release for luminaries like TIP Records and Dragonfly and a career touring the globe was launched.

Remastered from the original tapes, this EP offers a snapshot of that time, the energy and joy of these early recordings is clear and overwhelming. Where Ambient, House and Techno met the birth of electronic Trance that truly stand up some 30 years later as originals then and now.

Trance The Mystery.

Lemuria, the Hawaiian AOR project helmed by Kirk Thompsonian original member of the legendary Kalapanaireturns with a special 7" reissue featuring their a few of their favourite tracks 'All I've Got To Give' and 'Hunk of Heaven'. Thompson, a multifaceted talent as both a musician and producer, crafted timeless albums that captured the sun-soaked essence of island life. Originally released in 1978, Lemuria's music boasts top-tier production and songwriting, which has seen their songs covered by many artists over the years. Now, P-Vine revives two of their signature tracks on vinyl, offering DJs a dynamic slice of soulful, tropical grooves. 'All I've Got To Give' is a warm, melodic gem, while 'Hunk of Heaven' delivers a breezy, irresistible rhythm perfect for eclectic sets. This 45 is bringing the spirit of Hawaii's musical legacy back to the turntables.

Introducing the second release under the Statica imprint “MyCn18: Engraved Hourglass”

STATICA002 comes from Berlin-based artist Johannes Mai aka John Spring. John's productions have gained legendary notoriety over the past decade with his early releases revered for their timeless sound and experimental edge, whilst always keeping to a ritual of dancefloor compatibility. An influential artist who pushed the boundaries of minimalism and helped lay the foundations that have sculpted the sound of the present. It's a great honour to be releasing his first EP in over 13 years with 3 never before heard tracks from the mid 00’s.

“Train Ride” is an energetic A1 with pacey drums and a marching topline, while the A2 “Ravebehave” delves deep into spring reverb mastery and wavering synths. The B1 “Melodic Ten” begins with rolling percussion and uplifts with the whispers of enchanting vocals. B2 comes as a remix of Melodic Ten by Fabric resident and stand out London artist Harry McCanna aka Henry Hyde! stripping it back even further and introducing his own sinister synths, growling bass and groove-led drum patterns. It's a pleasure to have Harry featured on the release.

MyCn 18 is a young planetary nebula in the southern constellation Musca. It was discovered by Romano Coradi and Hugo Schwarz in 1991. MyCn 18's hourglass shape is produced by the expansion of a fast stellar wind within a slowly expanding cloud which is denser near its equator than its poles. The central star of the nebula is unknown.

Credits-:

A massive thank you to John Spring & Harry McCanna for their Contributions. Distributed by Deejay.de. Mastering by Justin Drake. Design and Curation by Alix

This 59 minute piece was conceived as part of a total environment for the exhibition Deus Ex Machina.



The project as a whole seeks to define and articulate the emotional, cultural and aesthetic manifestations of man’s uneasy relationship with technology. The music takes the form of a film score complete with stylized dialogue and actions.



During the 59 minutes four basic layers repeat in various configurations.The effect is to provide a template of narrative in which the pieces exhibited may become protagonists, situated in hypothetical scenarios which illustrate the contentions of Deus Ex Machina and the transmission of information.



Review:“Paul Schütze’s debut album from 1989 sets his stall out from the start; with a cyber update on Jon Hassell’s notion of ‘Fourth World Music”. Schütze’s music always sounds like it could be an alternative soundtrack to ‘Blade Runner’ (be aware fellow purists, I did state “alternative”), and this album is probably the perfect candidate if in some other dimension the Vangelis OST was no longer deemed satisfactory (such a dimension surely cannot exist). The listener feels like they’re walking through the rain soaked, neon-lit streets of a future LA with Deckard.” – Jay Harper

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?

If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.

Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.

Alfons Pich, 2025

Following up on his first DJ Friction Presents Ground Control album „Boogie Some More“ via Sedsoul Records , Soulsonic Recordings, the just founded label of DJ Friction is working on the second album. The exciting tune features again vocals from David Whitley, now on one track on the A-side and a dub version on the flipside as the first single of the upcoming album and is an exclusive first release on 7“ vinyl. This marks the beginning of a new era for DJ Friction who launches Soulsonic Recordings in collaboration with Soulkitchen. This original songwriting, ‘Step Into The Light‘ is again a tribute to the golden era of funk and disco, this release perfectly captures the electrifying energy of the early 80s while keeping things fresh for modern dancefloors. It is a fully positive feel good song with a meant to be enlightened touch of a gospel ceremonie, asking to join in with clapping, dancing and singing. The writing and production make this another certified dancefloor bomb, embracing the spirit of 80s funk with authentic precision.

Early support from Luke Slater, Ben Sims, Sverca, Staffan Linzatti,

Voyager Recordings returns, this time with well known artist - Ecilo, and his album entitled "Interstellar Shaman". An 8 track vinyl and 10 track digital release, with additional bonus digital tracks. This one being a lot more dancefloor focused, while retaining that sci-fi, future sound.

An eclectic and innovative artist from Indonesia, he started his journey into the world of electronic music in 2008. Making his mark on the South East Asian scene. His music found influence in the rhythms of jazz, soul, and blues, as well as the atmospheric resonances of Sci-Fi soundtracks.

With releases on noteworthy labels such as AXIS, ARTS, Planet Rhythm, Olympian, and more, Ecilo has strengthened his reputation as a producer and DJ with his percussive beats resonating around the world

Luxus Varta comes to Specimen Records with Magnetic EP, dropping six new tracks of intelligent and intricate electro.

With a discography spanning respected labels Solar One Music, Brokntoys, Trust, Klakson, and his own imprint, In Abstracto, Luxus Varta has solidified his reputation as one of the most distinctive voices in the electro scene. This release demonstrates further his knack for constructing complex, evocative tracks that work for the deep and dark dancefloor moments.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Moom Sound are delighted to present a 3 track EP of timeless Chicago house tinged tracks from the maestro Stefan Braatz; ‘Timeless Altitudes’.

Omnipresent on the Berlin scene, Stefan began DJing and producing in the 90’s, and is passionate about working in the analogue space with physical instruments – drum machines and synths – rather than computers.

Alongside friends, he organised underground parties on old demolition sites, as well as playing at legendary Berlin events like Tresor, Globus and Stellwerk.

With breakout releases on Nu Groove, King Street and Poker Flat, there are very few discerning parties that haven’t danced to Stefans beat.

“Timeless Altitudes” drops v soon on Moom Sound and it’s definitely one for the house heads.

The Patchouli Brothers are best friends bound together by oddities. They share an affinity for the esoteric side of disco, house, and all other forms of soulful dance music. They hold down a residency at Beam Me Up, a disco night in Toronto & Montreal, and have had releases on some of their favourite labels like Defected, Nervous, Razor-n-Tape, Soundway, GAMM, Soul Clap, Star Creature, Pleasure of Love & Basic Fingers.

We are so stoked to have them join us here for their first release on Sosilly and our seventh vinyl release SSE007… Like Bond they delivered nothing short of pure class! 4 x absolute fire cuts that can turn any place upside down.

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. “Garra” was originally released in 1971 and brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’ Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Garra” was originally released in 1971 and maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences. Recorded amongst sessions for a steady stream of popular TV soap opera soundtracks, it brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes ‘Ele E Ela’, as sampled on Jay-Z’s ‘Thank You’, as well as some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove… Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Marcos Valle” was originally released in 1970 and features a dynamic musical backing from some of Brazil’s most gifted players. Hip-hop fans may even recognize the opening horn blasts of ‘Ele E Ela,’ sampled to great effect on Jay-Z’s “Thank You.” It includes some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove…

For years, whispers circulated through the jazz scenes of Denmark and Poland - rumours of a lost recording session featuring the legendary Polish trumpeter Tomasz Stanko and a group of Scandinavian and Polish musicians. Now, nearly a decade after the session and seven years after Stanko's passing, these long-awaited recordings are finally seeing the light of day. The project originated at Vallekilde Højskole in Denmark, where Stanko was invited to teach at JazzDanmark's annual Summer Session. A storied program that has hosted luminaries including Bill Frisell and Anat Cohen, the summer school became the birthplace of this unexpected ensemble. Here, alongside a dynamic ensemble of young musicians, Stanko found renewed inspiration, embracing their compositions as much as his own - a rare occurrence for an artist known for leading his own groups. Scandinavian Art Ensemble with Tomasz Stanko is the result: two albums of expansive, deeply expressive music that merge the melancholic depth of Polish jazz with the spacious, atmospheric qualities of the Scandinavian sound. As trumpeter Tomasz Dabrowski recalls, Stanko wasn't just a mentor - he was an equal, driven by curiosity and the desire to push boundaries. "He wanted to play our music. He was always listening, always searching." Across these two albums recorded at The Village Recordings in 2016, listeners will hear Stanko's unmistakable tone interwoven with compositions by both himself and the ensemble members. Pieces like 'The Dark Eyes of Martha Hirsch' and 'Before the Rain' showcase not just his signature lyricism, but also his willingness to step back, listen, and let the younger generation shape the sound. Beyond his unmistakable sound, Stanko's influence was about energy - his presence elevated those around him. Bassist Richard Andersson put it simply: "He brings together the energies, and makes us all play better than usual." This project captures that essence: a legendary artist meeting the next generation on equal footing, creating something entirely unexpected. A decade after the session, the members of the Scandinavian Art Ensemble have forged their own paths, shaping the jazz landscapes of Copenhagen, Malmö, Reykjavik, and beyond. But the impact of their time with Stanko remains profound. "Releasing these albums is about more than just the music," D?browski says. "It's about preserving the spirit of Stanko - his generosity, his curiosity, his way of bringing people together. Even after all these years, his presence can still be felt in every note we played."

Originally released in 1993, the ‘Brown Album‘ defied expectations and had a significant genre and cultural impact - showcasing the duo's scope and ambition. It was also met with widespread critical acclaim upon release, with NME awarding it 9/10 in their review, and it was chosen as one of Mixmag’s “best albums of all time”. The album's blend of diverse influences and its rejection of conventional norms helped to solidify Orbital's reputation as The Godfathers Of Rave, expanding the horizons of electronic music beyond local DJ nights.

Over 30 years on, London Records re-release this genre defying album – loaded with 23 additional tracks - rarities and previously unreleased material, including ‘Live From the Limelight, New York 1992’. Also includes a hardback book containing unseen photos, a track-by-track by Phil and Paul Hartnoll + interviews and essays on the making of the album by esteemed music journalist Andrew Harrison, a slipmat and flyer recreations from the era.

Vinyl masters cut at half speed, to ensure maximum audio fidelity.

After a couple of years of silence, the Colombian label Insurgentes, operated by DJ Lomalinda and Verraco, and responsible for putting several South American sound explorers on the map to the world in the past decade, is back for one last release, one last dignified death: la última vez.

And for this last installment, one last album. ‘Fiera’ is the name of the LP that Seph wrote and programmed during 2022 and 2023. For us, his greatest work so far: an energetic and impulsive journey, it's an active listening that never stops, you can never trust the loop. 8 tracks that do honour to the Insurgentes catalogue and consolidate the sound of the celebrated and respected Argentine artist who has been in force for more than two decades, crossing the territories of techno, 90s IDM, dub and ambient. Tags that are masterfully captured and collided in the grooves of these 300 vinyls.

Today is both a happy and a sad day. But the feeling of contradiction has always been the main alkaloid of our artistic work and the result of our search for identity. Without Insurgentes there would be no TraTraTrax. Without Insurgentes, no platform would have been created for many of the dreams that today are a fact and that even dictate our future. We would like to thank all those who have been linked anywhere along the way with our sonic fiction, with our desire to build bridges, with our thirst to connect ass and mind.

Que la tierra te sea leve, querido INS

The fryer’s on full blast – Pomme Frite welcomes the Parton Brothers to the kitchen!
Straight from Jolene Records, Danny & Mike make their Pomme Frite debut with a golden-crusted 4-track EP that could’ve rolled right off the Roule press back in ‘98.
The brothers serve up four slabs of vintage French touch – ‘Extraball’, ‘Gemini’, ‘Luniz’ and ‘The World Without You’ – each dripping with filter-funk, crunchy samples, and that unmistakable disco sizzle.
We’ve always had a soft spot for that authentic French sauce – and the Parton Brothers bring it homemade, hot, and with love.

"The past few years has seen an explosion in pop music, with new artists breaking with unforgettable songs and (re)establishing pop, with influences from different genres and places, at the top of the charts.
NOW Music are very proud to present NOW That’s What I Call Pop! – 38 massive pop anthems - including 8 UK #1s – and with all tracks featured on a stunning 3-LP vinyl pressed in a different colour for each disc: Bright Yellow, Hot Pink and Baby Blue, releasing 23rd May 2025."

We are delighted to welcome DJ Sneak to Industry Standard. An artist that needs very little introduction in the House scene… Since being the forefather of the filtered disco house sound in the early 1990’s with his releases on Cajual, Relief, Henry Street & Strictly Rhythm, and his production credits with Daft Punk, he has been a mainstay in the underground scene with his unwavering style. Little has changed in Sneak’s music in this time, as he always delivers his jackin’ signature sound on his productions or in his DJ sets. So we are delighted to have him on the label.

There’s no point is going into the usual track descriptions, these are just straight up DJ Sneak… Real House Music made for Real House People on Real House Music Dancefloors. Enjoy!

Unsighted is the Brooklyn based project of Nicolás Sierra ,and Mutante returns with a new sonic manifesto: an EP that channels the rough energy of EBM, the analog sensibility of Minimal Synth and the hypnotic pulse of New Beat.

This EP is a distorted time capsule, where corrosive basslines, martial rhythms and analog synths coexist in constant tension. It is a statement without nostalgia but with retro DNA, designed for sweaty dancefloors, smoky basements and minds that vibrate on the fringes of the mainstream.

Foreboding EP is a collection of tracks that don't ask for permission, they hit you straight on, like a post-industrial alarm on eternal loop.

Ohio'Ohio's James A Donadio returns to Diagonal via his StabUdown Productions moniker, delivering the hyper spiritual "Tinge of Ascension" 9 track LP. This album is about the beauty of building something new by surrendering everything once learned. It's the culmination of 12 months working with a reappraised creative ethos. Throughout the process, Jimmy's interest in Krishna Consciousness & Dharma Yoga was deepening. Both went on to become deeply infused in this music. All tracks are ethereal in nature. Tempos are varied and rendered irrelevant. Jimmy's masterful use of sampling is on display as ever but the samples do not overburden. Tracks vary in energy but a bracing spirituality unites them all. Bráulio Amado (who has recently worked with Frank Ocean and Andre 3000) and Guy Featherstone (Diagonal's own aesthete force of nature) unite once again to deliver sleeve art which perfectly renders the music's preoccupation with the search for inner peace and purpose.

Amsterdam natives Maarten Smeets and Lars Dales, aka Dam Swindle, unveil their third long-player with the release of a new track, the first to be shared from the upcoming album, ‘Open’ - out on 30 May 2025 via Heist Recordings.

The new album sees the acclaimed duo dive far beyond the deep sonic waters they’re most known for, exploring lower tempos, synthwave, hip-house, and ambient across fourteen tracks. With a gestation period that traces back several years, ‘Open’ is their most intimate and personal body of work thus far, birthed during a time of self-reflection away from touring and personal transformation as individuals.

“We felt the need to tell a very personal story through our music as a translation of our personal development in the past years. We also wanted to make music without a specific goal in mind; We simply wanted to create. By taking away the grid of dance music and any expectations of what a Dam Swindle song should sound like, the creativity started to flow naturally with songs in many different styles and tempos. The result is an album that feels refreshing and uplifting and still very much true to the heart and soul of our sound.” - Dam Swindle, January 2025.

While the trademark Dam Swindle four-to-the-floor beats are still ever-present on tracks like ‘The Present Is Always Perfect’, ‘I Need You’, and ‘Is This Love?’, it’s the gentle waves of synths on opener ‘Home’, the contemplative piano chords of ‘Bloom’ featuring Joep Beving, and the lo-fi ambience of ‘It’s Okay, I Can Wait’ that showcase a melancholic, ethereal sensibility previously uncharted by the duo. Collaborations with vocalists such as NYC’s Haile Supreme on ‘Not Enough’ and Neo-soul singer Faye Meana on ‘Girl’ expertly find room in between the dancefloor and home listening sessions, and a clear standout on the LP is the title cut where message-heavy rapped vocals from UK artist Samson ebb and flow amongst iridescent grooves.

Under the helm of Maarten and Lars’ adept A&R, their Heist imprint has become a beloved home for house heads of both schools old and new, platforming some of dance music’s biggest names from Cinthie to DJ Sneak as well as the musical dawnings of artists such as Kassian and Makèz. The Dam Swindle alias has achieved house music royalty-like status across a storied 15-year career that includes two critically lauded full-lengths, collaborations with the likes of Tom Misch and Kerri Chandler, and a globetrotting touring schedule. This album stands as their most profoundly personal work of art to date, and they can’t wait to share it with you.

Showbiz! nennt sich MIKEs zehntes Soloalbum, das auf seinem Label 10k erscheint. Pitchfork bezeichnete es als "bisher größte Leistung des jungen Künstlers" und vergab das Prädikat "Best New Music". Es setzt neue Massstäbe für ihn und die teilnehmenden Zeitgenossen (Thelonious Martin, Salami Rose Joe Louis, Jacob Rochester, Anysia Kym, Harrison SURF GANG, ShunGu, Laron, redLee, u.a.), während er das nächste Kapitel seiner Karriere als unverzichtbare Stimme des 2020er-Jahre-Hip-Hop aufschlägt. Zur Unterstützung von Showbiz! startete MIKE seine bisher grösste Tour mit unzählig vielen Gästen, die ihn Anfang 2025 nach Europa führte (mit 6 Daten in DE+AT), von wo aus er über UK & Irland ausgiebig durch Nordamerika touren wird.

The Light Brigade is a new collaborative project from Belfast DJ and music producer, David Holmes. Shuffle The Deck sees David Holmes join forces with Keith Tenniswood (Radioactive Man/Two Lone Swordsmen), for a track that pays tribute to their friend Andrew Weatherall. This cut is aimed for hedonistic, sweaty nights on the dancefloor.

On Side two David works with Michael Andrews, who he previously collaborated with for his 2023 album, Blind On A Galloping Horse. This time we are treated to a swirling, sonic adventure that draws you in and takes you on a psychedelic voyage.

3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

** Cassette release

""A Synonym for Repetition" weaves together a tapestry of parallels, all intricately linked to Japan. The project initiates with a collaboration with a Tokyo-based musician, which ultimately fails to materialise during Jason Kolar’s recent visit to the country.

From an original approach that has to mutate in its starting phase, the record was conceived from the beginning to embody a sincere homage to Ryuichi Sakamoto, also a Tokyo native. Shaping ideas within the context of a city with a vibrant soundscape, through an exploration where tradition and modernity intersect in an ongoing quest for correspondences.

Yet, the barriers of language and cultural disparity emerge, casting a veil over the perceived connections and rendering them more projection than reality. This dynamic delineates the space observed from an external perspective, perpetually distant from true understanding, framing it in the fields of imagination, both Japan and Sakamoto. Nonetheless, Kolar tries to pay an honest ode to the artist and its scenic background, with all the implications and contradictions of this kind of process, even with the risk of falling into clichés, pastiches, and Eurocentric bias.

Connecting it to ‘vertical listening’ rather than to an obvious tribute exercise, he has morphed his sound to a synthetic and midi approach, aiming to set an ironically fictitious stage, one that resembles something, but it’s not really it."

Second Horizon is the follow up album of his very successful debut album "Heartware", that has been voted as album of the year by more than 23.000 readers of FAZE Magazine. The twelve tracks are inspired by 80s music styles EBM, Italo, Acid, Electro and Dark Wave and produced with a lot of original equipment from that era transferred into 2025. The album is also inspired by his relocation to Berlin, and the music reflects this shift, balancing gritty, industrial influences with shimmering, retro-futuristic tones.

Edit maestro Danny Krivit delivers a double-sider of killer instrumentals that rocked such iconic venues as the Loft and the Paradise Garage. ‘Flying Machine’ from War was written for the climactic scene in the 1978 film Youngblood and brings an intense burst of drama and excitement to any set. With swirling flute, the group’s trademark heavy percussion & an iconic drum beat that's been sampled by countless afro house records. This Latin-flavoured jam never fails to provoke dancers to new heights of expression, appearing for the first time on a 7-inch! The Flipside ‘How Much Are They’ plumbs the depths of dub and exists in a strange netherworld between four-on-the-floor, steppers reggae and motorik krautrock, courtesy PIL bassist Jah Wobble and Can’s Jaki Leibezeit and Hoger Czukay. Two certified classics from the playlists of NYC’s greatest clubs, remastered & delivered in maximum sonic fidelity.

In a blizzard of breaks and surrounded by towering slabs of icy atmospherics, Quelza comes spinning into the Dekmantel UFO orbit with an EP of grandiose proportions.

Anyone who caught Quelza at Dekmantel Ten last summer will be well aware of the breakthrough producer's affinity for evocative soundscapes — amongst his keen instinct for dancefloor propulsion its his richly rendered atmospheres that have made him such a vital new talent in the industry and club scene. The curious, extraterrestrial quality to his sound is the perfect fit for the resurgent UFO series, and Quelza has more than risen to the occasion with four tracks that take in the widest spectrum of his sound to date.

The title track 'Pensa Poetico' is a dramatic, 11-minute epic that moves beyond dancefloor rigidity into a fractured zone where rhythms splinter and shudder around immersive dub chords pulses and IDM infused rhythms . There might be the anchor of an insistent, staggered kick drum, but it's a simple tool to allow the freedom of movement for intricate layers of steel, glass, ice and dust before the second half erupts in a powerful display of breakbeat science. It's the most adventurous expression from Quelza to date — a track he credits with unblocking his creative process on the path towards a more honest expression within his production.

This spirit of adventure maintains throughout the EP, balancing cathartic compositional shifts with hyper-detailed scene-building and energy shifts that push and pull with your expectations. Quelza's well-established affinity for dancefloor physicality holds true as he twists and turns through these constantly surprising, nail-biting arrangements. Even when everything seems to fall apart, he'll sense the perfect moment to return to a pinpoint groove. Toying with minimal, modernist 2-step and complex organic percussion as well as choppy breaks, this is the sound of Quelza breaking out into a new phase where anything feels possible and his production vocabulary allows him to land audacious moves with mind-blowing finesse.

The Deku Trio's cozy Legend of Zelda coffeehouse jazz album

Jazz band The Deku Trio is back for an encore in Zelda & Jazz II, an 18-track smooth jazz Legend of Zelda tribute album. Featuring intimate piano, upright bass, and mellow drums, The Deku Trio reimagines the music of The Legend of Zelda with influences ranging from lounging bossa nova to coffeehouse jazz. Zelda & Jazz II features music from across The Legend of Zelda series. Highlights include Nintendo 64 classics Majora's Mask and Ocarina of Time, GameCube releases Twilight Princess and The Wind Waker, hand-held titles Link's Awakening and Spirit Tracks, Skyward Sword for the Wii, and the Super Nintendo's A Link to the Past. This wide-ranging tribute is topped off with artwork and character designs by comic and environmental artist Christian Benavides (League of Legends). The brainchild of Rob Araujo (Chillhop) and Chris Davidson (GameChops), The Deku Trio features rich reharmonizations on piano, gentle drums, and lush upright basslines, with mixes by Curran Sinha in Los Angeles.
The Deku Trio crafts an intimate smooth jazz tribute to the timeless Legend of Zelda series.

An immersive long-form composition in two parts that seamlessly blends a collage of spoken word, field recordings and drones with elements of dub, jazz, fourth world and ambient music.

Son Of Chi is the latest project of Rotterdam-based multi-instrumentalist, composer and producer Hanyo van Oosterom. Van Oosterom’s prolific career spans multiple decades and genres; among countless projects he has been involved in, he is known for founding the Dutch ambient collective CHI in the early eighties, and in recent years for his prolific collaboration with CHI co-founder Jacobus Derwort as Chi Factory. Following Derwort’s passing in 2019, van Oosterom decided to close the CHI circle with the birth of Son Of Chi.

Sonically, the world of ‘We Carry Eden’ is fully immersive; it ripples with depth and shimmers in detail. Motifs, ideas and fragments, arise and disappear like passing thoughts, drawing the listener deeper and deeper inwards. For those familiar with Oosterom’s work as Chi Factory, the depth and meditative nature of the work will come as no surprise; however it is Oosterom’s skill with grooves that shines equally bright here; his infectiously dubby basslines and percussion rise up from the ether, grounding the listener to the earth. ‘We Carry Eden’ at times invokes the fourth world landscapes of Jon Hassell, (with whom Oosterom has collaborated) but as a whole, it remains the unique work of an artist fully in tune with their vision.

Thematically, storytelling traditions lie at the heart of ‘We Carry Eden’, with van Oosterom’s long-time collaborator Omar Ka playing a central role. Ka, who hails from the West African nomadic Fulani tradition of storytelling, responds to the collage of field recordings and sounds collected by Oosterom. His voice is woven throughout ‘We Carry Eden’, creating a narrative that binds the multiple sound sources of the album together.

As with much of van Oosterom’s musical output, inspiration is drawn from the Greek Island of Patmos and the wisdom and prophecies of the Native American Hopi Tribe. Since his work with CHI in the early eighties, van Oosterom has often incorporated quotes from Hopi Elders into his music. Gods, spirits, animals and humans, all existing in one unchangeable relationship tied to nature; ‘We Carry Eden’ is rooted in this philosophy, serving as a peaceful message of beauty, harmony and respect for the wisdom of the Elders and ancient traditions.

Sleeve art and design by Michael Willis.

Wir schreiben das Jahr 2025 und FEINE SAHNE FISCHFILET kündigen ihr neues Album „WIR KOMMEN IN FRIEDEN“ an:„Alle gegen alle, im Krieg mit sich und untereinander und natürlich immer exklusiv mit der alleinseligmachenden Offenbarung im Gepäck.

Jeden Tag passiert so viel, so viel Scheiße, so viel Dummes, aber auch immer die guten Sachen mit den Freundinnen und Freunden, der Familie, mit all denen, die noch nicht komplett im Arsch sind. Zeiten, in denen man sich nur umdrehen muss und einem die Idee für das nächste Lied an den Kopf geworfen wird. Und so erscheint am 30. Mai unser neues Album mit einer Menge neuer Songs. Wir kommen in Frieden. Das ist unsere letzte Warnung.“

Angetrieben durch ihren ureigenen Signature Sound - High Energy Melody-PunkRock mit Trompete – gelingt den fünf Musikern mit ihrem neuen Werk eine hinreißende Bestandsaufnahme und gleichzeitig Ausblick auf eine der ungewöhnlichsten Band-Karrieren der letzten Jahrzehnte dieses Landes, ein wilder Trip, der sie aus der vorpommerschen Provinz durch viele Irrungen und Wirrungen bis an die Spitze der deutschsprachigen Musikszene geführt hat.

Produziert wurde der Longplayer erneut von Philipp »Philsen« Hoppen, der auch schon bei Alben von Die Ärzte, Kraftklub, Deichkind und K.I.Z. seine versierten Finger im Spiel hatte.