Nearly a decade on from his last release, Andy Hart returns with three tracks for Axis of People’s fourth outing. Inspired by the friends who kept him close to the music through his time away, Life à l’Orange is a nod to the records that brought them together in the first place.
Hemisphere picks up where things left off; dubbed-out, driving, warm. Signal Flow and Serenity Now move into lusher, more uplifting territory, rich with the harmony and texture that define the sound. Fantastic Man closes things out with a remix of Serenity Now that takes the original somewhere looser and more hypnotic.
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Butter Side Up’s 15th release comes from a familiar face. DANCE PROTOCOL (FKA Midge Thompson), responsible for the label’s second release some 7 years ago, returns to the label with The Shop Floor EP, another chapter in a relationship that stretches back to the party’s earliest years.
A self professed audio nerd, Midge has been operating quietly but consistently for well over a decade in Leeds and more recently London, honing an intentional studio-craft which draws inspiration from quite literally anything he can get his hands on, from 12-bit samplers and vintage synths to YouTube interviews and iPhone field recordings.
If his productions have earned their place through character and an unmistakable sense of groove, The Shop Floor EP is a culmination, presenting perhaps his strongest work to date.
Across four tracks, subtle textures and repeated vocal samples are stretched and twisted over broken beat rhythms and heavy sub-bass. A fine balance of UK-rave tropes and European minimal sensibilities that glide patiently, building and dissipating tension. From the driving, acid-tinged The Shop Floor to the bouncy, breaksy Riding Up Front and deeper Perry Lane, there’s a breadth of moods across the EP, which peaks with the celestial The Back Bench, surely one of the BSU’s most sunrise coded tunes, an softly inviting ‘Give Me Some More’ vocal refrain accompanied with woozy chords, pads and a chunky slap baseline.
Papa Nugs & DJ ADHD team up once again for volume II of their ‘PAPADHD’ release series. This edition is headed up by ‘The Voices’, an incredibly sought after unreleased tune from the last year, spun consistently by Ben UFO around the globe. An emotion inducing, glitched out & melody driven peak time hammer, remixed on the B side by the ever evolving master of his craft Jorg Kunning, giving the song an incredible fresh take for the small hours. The A side is accompanied by OPA!, a percussive dance floor tool with a surprising, wonky & tension breakdown, finishing off another heavy hitting Suckerpunch record brought to you by Papa Nugs & Oisin
Brutkho strikes back on Goldmin Music with his very first vinyl release. A first physical release is always something special and exciting, So of course, it had to be a very personal and deeply touching package of music. Horvath Tamas alias Brutkho is actually one of the artists we feel since the first listen of his music. This hungarian producer has the power to play with the unexpected, to build captivating structures without losing sight of the essential simplicity this music needs."Now & then", his first ep on Goldmin Music and "Magic 32" on the compilation were already authentic demonstrations of this guy's assertive personality and aspirations but he definitely pushed the process further on this record.
Gabriella and Coleman are two massive deep-techno stompers focused on the atmosphere, the texture, the immersion which will play with your senses from the beginning to the end and fool your previous certainties without any doubt.Tel-Aviv based producers Deep'a & Biri who recently joined Derrick May's Transmat agency and who deliver some of the finest dub techno cuts of today catched the original track delicious pianos and dropped them into their sumptuous cinetic industrial groove.French producer Jan Hendez drives it into a pure rhythmic and organic piece of music unbound by usual genre limits. Menacing, very cold yet still deep and sexy remix that reminds both his first releases and his newer strictly atmospheric and mental approach.That's exactly the point with this record. It's a meeting of spontaneous artists who never stop their musical research, who don't mind about fleeting trends and who push boundaries further on every single track they do.
Goldmin Music label founder Romain Lanteaume alias EinKa meets Detroit minimalism master Terrence Dixon aka Population one for a truly conceptual techno 12".. Terrence Dixon is one of our favorite artists and biggest inspiration.. Detroitborn artist released his first 12" back in 1994 followed by several quintessential records and 2 epic albums "From the far future" on legendary Berlin-based label Tresor. Terrence is not only a great techno producer who makes subwoofers roar in clubs, he is a man obsessed by a concept, an idea that he's following from the very beginning.. "Minimalism" in the reaaaaal sense of the word.. For example, when thousands producers are wondering what's eventually missing in their new track, Terrence is rather wondering what's useless, what could be removed and that's definitely what he gets to share on his own "Reduction" imprint. After the release of Terrence's track "Steve Austin's mile" on Goldmin Theme Lp, Romain got to meet him in Detroit during summer 2014. The aim was to make an abstract record that could still be linked to a feeling or a situation.. A1 The edge track is probably a good example as it's designed and built to make you feel like you get closer and closer to the edge while the track is slowly growing until you fall.. Can you feel it :) As for the other tracks, there is also a special idea behind them but we better let you interpret it your way
Following "The Edge" & "Void", french producer and Goldmin Music label owner Romain Lanteaume aka EinKa delivers his first album "To Waken Doubt In One".
The Sound of Love International 008 curated by Ivan Smagghe.
The next chapter of Love International's compilation series with Test Pressing arrives through the lens of Ivan Smagghe. Guided by his long-standing mantra, “the style of no style,” the 12-track selection drifts effortlessly between shadow and light - a reflection of the festival as he knows it.
This is Smagghe’s version of Love International: unpolished in the right places, intuitive, and deeply attuned to the stranger corners of the Adriatic experience. The compilation captures the balance at the heart of the festival: connection, curiosity, and a shared rhythm that holds it all together. Slightly out of reach yet exactly where it should be.
EVPHORIA is not just a record. It’s a trigger.
140 BPM of tension, ascent and release — engineered to push the dancefloor into collective hypnosis.
Balancing power house propulsion, techno pulse and large-scale emotional lift, the track transforms a strangely familiar sensation into something raw, direct and uncompromising. No nostalgia — only forward motion. A rise that refuses to come down.
The original version unfolds as a sustained euphoric surge: driving percussion, insistent hooks and controlled repetition built for peak-time unity.
The edit version distills that energy into a tighter DJ weapon — immediate, sharp, floor-focused.
On the B-side, Inflammable Noise appears in its instrumental form — pure club mechanics, no vocals, no distraction. A stripped version that amplifies tension and turns the track into a true dancefloor weapon. Already tested in demanding environments, it notably detonated a peak-time moment when Chloé Caillet played it at Berghain — a point where the room tipped over.
EVPHORIA moves freely across scenes — from house floors pushing tempo to techno basements and high-intensity dance spaces — built for DJs chasing the rupture point.
Pressed in a strict limited edition.
Vinyl only — no digital release.
Created under the EVPHORIA imprint by Hardrock Striker — dancefloor architect and driving force behind the Skylax universe — this release stands as a physical, autonomous club statement.
Sleeve artwork by H5 (Daft Punk, Air, Étienne de Crécy, Logorama, Kanye West / Adidas), reinforcing EVPHORIA as both a sonic and visual manifesto.
EVPHORIA doesn’t ask permission.
EVPHORIA triggers.
A record for the moment the room tips over.
Strong international support from Richie Hawtin, Arnaud Rebotini (Black Strobe), Kristian Beyer (Âme / Innervisions), Dax J, Ilario Alicante, Chris Fortier, Michel Gaubert, DJ Mag, KEXP Seattle, Byte FM, Tsugi, Waveform Transmitter and many more.
Outstanding reactions included: "This is just perfect... one of the best things I've heard in recent weeks. Supported!" (Club Furies), "Great release! Adding to Waveform Recommended." (Ste Knight), "Excellent work here! Will play on my show." (Fly Radio 104 FM), "Great – will play." (Radio Reverb), "Energetic and ethereal club energy." (CJSW Canada)
Mihai Popoviciu, one of the most esteemed names in the deep house and minimal scene, is set to unveil his anticipated new album, ‘Puzzle Box’, on Bondage Music. As one of the label’s core artists, Popoviciu returns for his second full-length album release on the imprint following his successful 2016 album, ‘Home’ - available on vinyl from 15th November 2024.
With a career spanning over a decade and with releases on numerous influential labels such as 8Bit to Berg Audio, Popoviciu has firmly established himself as a go-to within the minimal-leaning realms of house music. Known for intricate soundscapes and deep, hypnotic grooves, his work continues to captivate audiences globally. On ‘Puzzle Box’, he delves deeper into his signature stripped-back yet soulful aesthetic, offering a diverse collection of tracks that traverse through various sonic textures.
“With Puzzle Box, each track unlocks something deeper with every listen” - Mihai Popoviciu.
Consisting of thirteen tracks in total, ‘Puzzle Box’ showcases the Romanian’s sound to its fullest. On the vinyl edition, fans are treated to standout tracks like ‘Batiscaf’, ‘Storm Rider’, and ‘Far Gone’ — vinyl-only gems that capture Popoviciu’s talent for layering subtle, dubby tones with groovy rhythms. The opening track, ‘They All Say’, sets the mood with smooth, atmospheric beats with a skippy groove, followed by the dynamic “Video” and the driving, pulsating energy of “Frankfurt.”
Popoviciu’s skill in crafting versatile productions is showcased throughout the album, with each track offering something unique.
From the sleek, melodic strains of ‘Puzzle Box’ to the hypnotic, rolling basslines of ‘Kinetic’, this LP is a journey into his meticulously constructed sound. The digital version also features the bonus track ‘Body Count 2’, offering a final, rhythmic flourish to round off the release.
‘Puzzle Box’ further cements Mihai Popoviciu’s role as a mainstay on Bondage Music, a label which continues to champion forward-thinking, minimal-leaning house music. With this latest LP, Popoviciu once again proves why he remains a favourite, building on his storied career with another masterclass in refined, deep electronic music.
Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.
Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.
The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.
Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.
One of the key architects of Gospel House Music, DJ Spen, gets set to release his brand new full-length artist album, ‘The Praise Party’ on Quantize Recordings. DJ Spen’s weekly Sunday ‘Praise Party’ live stream was born in the pandemic, when a heartfelt idea from his wife Kelly, “go live and bring hope to people”, grew into a global online family united by music, faith, and irresistible gospel house edits. Six years on, that community still gathers, and ‘The Praise Party’ album carries that legacy forward, continuing to bring hope and inspiration through music. A true labour of love, this album sees DJ Spen deliver fifteen uplifting songs where joyful voices rise together in spine-tingling harmony, and stunning solo performances flow over a musical feast of heart lifting, hand clapping and roof raising Gospel grooves.
CEPX002 is around the corner and marks the second chapter of the X Series on CEP Records. With this release we welcome vinyl head Eubo from Glasgow to the label. From the first track he sent us it was clear that this is the direction we want to push. A strong old-school influence, shaped by vinyl culture and the energy of the early two thousands. The connection felt natural from the start.
A1 'Iron' is probably the most intense track on the record. A rolling bassline, sharp and slippy drums, and a lead that lays over the track with deep mids. It brings a short moment of calm, while the drive stays constant. A2 'Aluminium' stands out with its clear high hats and a modular synth that recalls sweaty and dark mornings. The sound has a slightly hypnotic and metallic touch. On the B side, 'Steel' moves through the interplay of its synths. The kick and bass stay steady and driving. A timeless track that can underline the peak moments in a DJ set. Closing the release is 'Lead'. It brings a funky bass together with serious, almost contrasting synth stabs.
It took a while, but now Panthera Krause is finally back on Riotvan. With what felt like a thousand tracks sitting on the hard drive, we somehow narrowed it down to four and welded them together into one EP. A collection that belongs together while sounding completely different at every turn. From funky house to acid, from trippy percussion-driven sunrise excursions and back again, this record moves through moods and textures without ever standing still. A colorful bouquet loaded with energy, carrying that very specific spirit that somehow feels unmistakably Panthera and unmistakably Riotvan at the same time. We’re happy. Panthera’s happy. Hopefully you are too. Welcome back! It was about damn time.
Belgian-based guys of Lemakuhlar are back on Goldmin Music with their first vinyl release: Lauper.
More subtle and abstract than anything we've put out yet, this 3-tracker record definitely demonstrates full
range of their talent with "Sigulha" a more than 12 minutes epic deep minimal track starting with an eternal
organic groove leaning towards this absolutely unusual break that you're not going to forget. Nevertheless, B
SIDE "Night comes soon" & "Lauper" keep the same intriguing and damn rare quirky imperfection, brought in part
by tape recordings, studio noise recordings and of course artists' huge creativity.
Deep Inspiration Show Records continues to defy the norms of electronic music vinyl culture, seamlessly bridging the gap between dancefloor energy and deeper, more emotive soundscapes. Their latest release, “Friends of the Deep”, is another standout EP to celebrate the 10th record. The original coming from Sundaze Lab & Melchior Sultana, and the remix by the legendary Zarenzeit. In addition, there are two exceptional contributions from deep house stalwart Brad P (Brad Peterson) which help deliver a rich, immersive journey through classic original deep house. From the sundrenched textures of “Seaside,” with its lush pads, rolling bassline, and signature jazz guitar touches by Melchior Sultana, to the dreamy, exploratory tones of “Zarenzeit,” the A-side sets a warm, evocative mood. On the flip, Brad P brings his unmistakable depth and musicality — “Years Don’t Lie” unfolds as a mature, emotive piece layered with soulful strings and an bass driven groove, while “Metaphysics” channels the timeless spirit of classic labels like Deep4Life and Nu Groove, building from stripped-back percussion into a full, uplifting but heady arrangement. A must-have for true deep house heads — “Friends of the Deep” is a heartfelt, groove-driven collection that rewards both the deep dancefloor and the soul
WRWTFWW Records announces the return of Louisiana-based composer and producer Jammin’ Sam Miller with A Link To The Past Tribute, his homage to the music of Zelda (A Link To The Past). His remake of the classic video game score is available as a limited edition green vinyl LP with artwork and sticker sheet by French illustrator Pierre Thyss, as well as an obi strip.
Originally composed by the legendary Koji Kondo, the epic 1991 Zelda soundtrack for the Super Nintendo Entertainment System is one of the most celebrated pieces of video game music ever, a sound that will automatically bring fans to a complete state of pixelized nostalgia bliss.
Jammin' Sam Miller entirely remade the soundtrack from scratch, note by note, without sampling any of the original audio. He recorded his cover versions by finding the original equipment used to create the score, translating the MIDI into a modern studio context, adding his keyboard sounds, and re-mixing and re-mastering the whole soundtrack with modern techniques. The result is a new experience of vintage Zelda music in full HD uncompressed glory and blessed with the beloved Jammin’ Sam Miller touch!
The Signum Recordings label celebrates its 30th-year anniversary with a limited edition 7" single of 200 copies on green vinyl. The title track, "Fire Them Liars", presents a powerful fusion of leftfield ambient electronics, urban beats, orchestral strings and guitarsounds. Vocals and lyrics are provided by label founder Maarten van der Vleuten. The Bside, titled "The Story Of Nuffsy Nuff", is exclusive to this 7" release. Musically quite unexpected with its postpunk/psychedelic rock-influenced sound, on which Maarten plays drums (and some sparse vocals). The release includes a hand-stamped inner sleeve with a download code and sleeve featuring the lyrics.
Baba Stiltz continues to showcase his songwriting capabilities with Relief.
Backed by Ilari Larjosto on drums, Relief sees Stiltz delving deeper into the slacker-country territory explored on his last album, Paid Testimony, though here the sound is more refifined and hi-fifi. The track hints at the indie apathy of decades past while maintaining a distinctly contemporary sensibility.
A dubby yet fractured-sounding bassline and sparse three- chord verse structure intertwine with Theo Stocks’ beautiful lap steel arrangement, while Larjosto’s steady, Moe Tucker- esque drumming keeps the song moving forward.
Lyrically, Stiltz navigates pop songwriting tropes with restraint and precision. The repeated refrain of “congratulations” feels both strung-out and melodic, while fragmented, Garielle Lutz- like imagery — “tick tock, wrist watch, clif bar, trunk car, its cargo” — quietly sets the scene. Somehow, the juxtaposition resolves elegantly.
When asked about the theme of the song, Stiltz simply responded: “There is relief in acceptance.”
With Relief, Stiltz offers another compelling glimpse into his evolving songwriting practice, and perhaps an indication of what is still to come. The release follows a prolifific start
to the year for Stiltz, including Blurb 2 with Okay Kaya, co- production, writing and mixing work on Ana Roxanne’s Poem 1, and co-production and mixing on the SY3 EP for Music From Memory.
SEVEN brings together a fine selection of fresh producers delivering everything from proper house slappers to drifting deep house cuts and progressive house on their latest Various Artists compilation. This VA highlights a bunch of promising newcomer artists across Berlin, Paris, Hamburg and Switzerland, each with their own distinct sound - alongside the already established Nesa Azadikha, a percussionist and producer from Iran. She dedicates her music to the people of Iran fighting for freedom, using house the way it was originally intended: as a rhythmic, electronic escape and a form of cultural expression for oppressed people and communities.
The third release in the Remastered series brings together material from across the S.B. Project catalogue. It features three tracks from The Primitive Streak, three tracks from Cultural Co-Operation, all presented with continuous locked-groove endings, alongside six lock grooves taken from The Primitive Streak Redefined. Recorded under Steve Bicknell’s S.B. Project pseudonym and originally released on Clubtracks between 1998 and 2002, these productions define a distinctive grey area between House and Techno—functional, stripped-back, and built for DJ use. Release date: 17.06.2026. Vinyl and Digital Mastered by Peter Van Hoesen at Memento Mastering. Art, Clara González. Written, produced, and mixed by Steve Bicknell. Published by Mute Song. Distributed by Triple Vision.
Fuzzy Blanket Recordings drops their third vinyl release, Form Is Emptiness, a four-track Various Artists EP that navigates a shift into darker, more melancholic territory.
Rooted in the label's signature warmth, the collection further expands the fusion of deep house with shoegaze and dream pop. Twilight atmospheres and a hypnotic, ambient house pulse unfold across the release, creating a record equally at home in the collective haze of a late-night dance floor or the solace of a tea house.
The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits
Sciahri and Sublunar are proud to welcome Spanish artist Vilchezz to the family. Known for his releases on labels such as KEY Vinyl and Vault Sessions, he makes his Sublunar debut with the powerful EP Deadlock, showcasing his unique ability to seamlessly blend contemporary sound design with timeless techno aesthetics. The release opens with the title track, "Deadlock", a highly groovy cut driven by sophisticated sound design and a compelling rhythmic flow. It is followed by "Ghost In The Code", where refined textures and carefully crafted elements create a hypnotic groove that remains effortlessly engaging. On the flip side, "Lamina" explores darker territory, delivering deep, shadowy atmospheres and a more intense energy. Closing the vinyl edition is "Room101", the deepest track of the EP, a versatile and timeless tool capable of creating memorable moments at any stage of a set. With Deadlock, Vilchezz demonstrates an impressive range of moods and sonic approaches, confirming himself as one of the most exciting and versatile artists emerging in today's techno landscape.
Micro Driver III is here back again, from a large period of such as an hybernation status. As previous targets: the combination and compilation from several electronic music producers are shown in this series to enhance and spread the sonic spectrum of the label.
So we are also proud of this release for a particular reason: A nice moment of having on board two of the greatest veteran electronic music activists from Madrid City, Roberto Gemelin with his aka Groof and Luis Rozalén with his HD Substance moniker gives to this 12" an exclusive meeting to show the most electro side of both producers after their long careers producing and creating full of different electronic music alias and stuff.
In the other hand, sharing the vinyl we are pretty excited by the music of Spectrum Data Forces the Electro alias of the well established techno producer C-System, with his high-energy, powerfull and tigh Electro. And the last but no least track of Emulador with a minimal and futuristic Düsseldorf/Detroit vibes to accomplish this compilation.
This four spanish artists are definately full of talent with four different styles and visions of Electro. Micro Driver is a series compilation from several artists of the Electro community.
Logout Record Shop Firenze is happy to present its first official release: LGT 001, signed by Novosti Kulturi. Known for his raw blend of electro, raw synth and underground industrial textures, Novosti Kulturi has been active within the darker electronic circuit through the Waveform community — a cult underground platform and party series connecting artists and dancefloors across Europe and beyond. Alongside connected to legendary German coldwave label Kernkrach, Berlin-based cassette label Detriti Records and London’s Meta Moto. Widely associated with contemporary electro, dark disco, techno and EBM-oriented dancefloors, Novosti Kulturi continues to shape a personal sonic language balancing cold machine-driven rhythms with saturated synth pressure, cinematic atmospheres, tape saturation and distorted nocturnal nostalgia. Built around classic TR drum machines, VCO and DCO synthesizers, 12-bit sampling and tape recordings, Novosti Kulturi operates like a transmission from an unidentified place — where past and future dissolve into raw sonic waves and frequency distortions.
This debut EP delivers five tracks moving across sharp electro rhythms, stripped techno structures and darker EBM-infused territories. Cold machine grooves, industrial tension and late-night melancholia define the release, balancing dancefloor functionality with a distinctly cinematic approach. Influences from electro-industrial, new beat and dark synth-driven club music emerge throughout the record’s sonic palette. With LGT 001, Logout Record Shop introduces a vision centered on artistic identity and storytelling, embracing a broad sonic spectrum rather than a fixed aesthetic direction. The label’s first release reflects this approach through Novosti Kulturi’s personal language — crossing styles, moods and textures while keeping a strong connection to modern underground dancefloors.
Eric Cloutier's career has always been defined by a certain kind of relentless, monastic discipline. With My Friend The Abyss (PALINOIALP01), Cloutier continues to bridge the gap between the selector and the creator. The album title itself suggests a reckoning with the internal-a realization that time is the only distance between an artist and their masterpiece-resulting in a body of work that feels less like a collection of tracks and more like a hard-won transmission from the deep.
Forged in a crucible of stress, chaos, and loss, the LP eschews the easy loops of his earlier output for a far more complex architecture. While Cloutier's signature hypnotic pulse remains the bedrock, the record expands into a startlingly broad lexicon: the dub-wise weight of "Havittaa" and the tribal intensity of "Desassossego" sit alongside moments of fragile ambient beauty. Perhaps most surprising is the inclusion of "Ligrothism," where Cloutier explores the broken rhythms of drum and bass, proving that his obsession with "Palinoia"-the Greek term for perfecting an act through obsessive repetition-has led him to a place of total creative fluidity. This isn't just club music; it's a masterclass in atmospheric tension.
Acid Avengers are back with a new insane split! Four bangers, two French buddies you already discovered thru some of the best electro labels such as Solar One, New Flesh, Bordello A Parigi, Delsin, Kompakt, Nocta Numerica, or Helena Hauff's Return To Disorder. Coming from east of France (dynArec) as well as west coast (Captain Mustache), the two froggies deliver here four acid tunes for the floor, with an intense sexual groove and firmly designed to get your body moving!
A reflective mood shapes this new ENSOULED compilation, which leans into thoughtful deep house and rhythmic exploration. Italian producer Kikko Esse sets the tone with 'Nightfall Chroma', a spiritual cut guided by warm chords and the sort of slow burn groove that is like sinking into a lush bath, and is later reworked by Alton Miller, whose Detroit-rooted style adds some lovely swing. On the reverse, Cee ElAssaad and Masaki Morii deliver 'Tribe', a more prickly percussive cut underscored by dub effects and spoken word. Hugo LX closes the 12" with a deeper club reinterpretation that keeps you locked.
Huge classic techno history! Echoes originally appeared in 2001 on Kanzleramt, and from the moment it landed, it was clear this was something different. Eleven techno-dub-house tracks, rich in texture and depth, that mapped out a singular vision of Berlin's dancefloor aesthetic at the turn of the millennium. Not a collection of club tools, but a fully realised album statement, one that understood the dancefloor and the living room in equal measure.
Twenty-five years on, Alexander Kowalski reissues Echoes on his own label Cycles Music - remastered, on double vinyl, and presented as it always deserved to be heard. The ten tracks across four sides move through deep, rolling grooves, melodic undertow and the kind of emotional precision that made Kowalski's name in the first place. Echoes are fragments from the past which follow us into the future, the album's original motto reads like it was written for this moment.
Trinidad-born, Bristol-based vocalist and multi-instrumentalist Corysan releases his first new single in five years on the newly launched Nine Channel Records.
He met producer and label boss Grant Dell in 2016, the pair hitting it off and collaborating on 2018’s Hijacked single for the latter’s Legsman reggae imprint. Described as “proper righteous business” by Andrew Weatherall before spinning the single on his Music’s Not For Everyone NTS radio show, Corysan deeply intones his lyrics over Dell’s supremely deep, heavyweight roots manoeuvres.
When Dell asked Weatherall’s long-time studio partner Nina Walsh to pick one of the three artists on his planned new label to remix shortly after his untimely passing in 2020, she selected Corysan’s “Heavy Load”, not knowing Andrew had been such a major fan but, at that difficult time, relating to the song’s positive punchline: “The burden that I carry here, can only make me stronger now.”
Nina’s modern dub masterpiece graces the flip of Dell’s two mixes, her seismic bassline and other-worldly music perfectly complimenting Corysan’s message, represented in spatially planted extracts along with a new spirit-flying midsection.
Now it’s time to let “Heavy Load” into the world as a roots milestone from this unique artist, with enough extra weight to anchor it anywhere from sound systems and clubs to front-room dancehalls. Those few years since its creation have given its timeless message of hope and defiance a deeper relevance in turbulent modern times.
What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.
Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.
Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Hot Wax is an assured KPM masterclass from a dream team line-up of Brian Bennett, Alan Hawkshaw and John Fiddy. Here we're treated to what happens when all three decide to explore the latest trends in production music'. The latest as of 1976, of course.John Fiddy's numbers are sumptuous, string-led and light. Floaty soft-psych underpinned by a solid groove, particularly on Taste For Living' and "Fresh Start". If you're into Koushik and those early Manitoba/Caribou records - and you should be - you'll appreciate these.
For us, the Bennett and Bennett/Hawkshaw stuf is on another level. Capitol City' oscillates between driving funk and downbeat sentiment. Name Of The Game' is tough, smokin' funk, famously sampled in 2007 by Madlib for Percee P's Who With Me'. Bop On The Rocks' knocks hard and Full Throttle' features a guitar solo with some of the nastiest, about-to-explode fuzz you're ever likely to hear.
As with all ten re-issues, the audio for Hot Wax comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The 'vivid contemporary sounds for a fresh visual image' make up the now canonised Synthesis from Alan Hawkshaw and Brian Bennett. These two greats go deeper than usual on this collection, and the end result is a synth concept record of sorts. Released in 1974, it's an essential companion piece to
their Synthesizer and Percussion LP, released on Themes International Music in the same year.
Like most of our favourite library records, Synthesis has that gloriously funky, 'weird electronic music' vibe without ever being inaccessible. With the awesome ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape that, whilst laid back in all the right places, somehow remains heavy on the funk. It's a sort of throbbing, proto-G Funk sound and you can fnd it on many of these low-lit basement workouts.
Take the ice-cool 'Alto Glide'. It's a sunset-funk highlight with an electro-fute refrain that conjures those dreamier Dre / DJ Quick instrumentals from '91 to '92.
Stereolab, Koushik (again) and all those Ghost Box artists were clearly listening very closely in the years since. The equally relaxed 'Mermaid' glides efortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths.
It's a really beautiful piece.With these two soft-focus closing tracks allowing the LP to foat away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm
section to back the synth overload. Highlights include the head-nod funk of 'Getting It Together' and the synth break in 'The Executive', which informed classic video game soundtracks.
For once Be With really is stuck for words to describe just how good this record is.
Best just to listen. As with all ten re-issues, the audio for Synthesis comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.
In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."
Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.
Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."
Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.
Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.
The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.
Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.
"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.
Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."
Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.
Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".
Mermaids is many things at once: The debut single by Fila Brazillia (named after the mishearing of a Brazilian mastiff breed mentioned on the radio), the second release on Pork Recordings, a deep house master piece, the brainchild of the summer of love, a pen friend to A Man Called Adam’s Barefoot in the Head and most of all pure balearic bliss. Originally released in 1991 and subsequently featured on Old Codes, New Chaos, which according to Frank Tope at Mixmag, is "the Best Dance LP ever made”, it marked the beginning of a long and illustrious partnership for Hull natives Steve Cobby and David (Man) McSherry.
Mermaids still sounds as good and as addictive on any kind of beach or natural environment as it supposedly did on Boris Dlugosch’s Front dance floor or any other basement suffused with strobe lights at the time (or any hedonistic place for that matter). Having been already part of the latter’s and Klaus Stockhausen’s Mastermix Front Compilation, it has now been dusted off and remastered for an individual performance. Added for the first first time though is the original demo version that makes use of a different yet not less enchanting bass line.
Also included is Fila’s 1994 trippy, dare we say progressive, UK house blueprint Slacker. A seismic shift from the traditional tropes of house, it set an example for what should rock the dance music boat just a few years later. Delivered in a previously unreleased extended version for your utmost enjoyment.
Artwork note: The sleeve photograph is a proto-selfie taken by Steve in 1983 (the year the two first met). Man still has those braces.
In certain circles, this is a record that would easily be called „eternal“. Back in 1996, when it was originally released, it sounded like nothing else - and still does. The sixth record of Frankfurt’s soon to be imperial Playhouse label and Losoul’s first outing on the label, it hot-wired many things at once: house and techno, US roots and European fruits, grittiness and wittiness, high tech funk, the expansion pf playtimes and the concept of minimalism in dance music. Elegance met effectiveness.
A composition that hooked you and also caused a stir elsewhere. Daniel Bell licensed it to his Elevate label and commissioned a very young Theo Parrish to remix it, Michel De Hey did the same with his EC Records and treatments by Gerd among others.
Here you finally get both of those carefully restored, remastered and reissued next to the originals. Amply placed on a double 12“, it also features the previously unreleased D1. Stemming from the same time and era as Open Door it rings and feels like a compact lost brother. Addictive as on the very first day and here to stay.
Teddy Swims returns with his most personal album to date, UGLY, out January 22, 2027, featuring singles “Mr. Know It All” and “Perfect Man.”
Following the global success of I’ve Tried Everything But Therapy, Swims turns the mirror inward. Written across a transformative year and a half, UGLY finds him confronting the parts of himself that are harder to face - unraveling old patterns, questioning long-held beliefs, and reckoning with the stories we tell ourselves about who we’re supposed to be.
At its core, UGLY reframes what it means to heal. Growth isn’t about making the struggle beautiful or finding an easy way through it. It’s about facing what’s uncomfortable, giving yourself grace while having accountability, and unlearning the things that keep you from moving forward. UGLY is Teddy at his most vulnerable and self-aware - finding strength not in perfection, but in finally embracing the parts of himself he once tried to hide.
