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After going AWOL, the elusive DJ Boneyard checks back in with 'Bonestyle' – a six track ruckus of raw techno jaunts.

Propelling Down Under techno and house into the world's clubs with classics such as Phreakin', LSD and 6AM in the mid-90s, djhmc (Cam Bianchetti) is rightly hailed as the 'godfather of Australian techno'.

Now with more than 30 years experience of transcendentally moving dancefloors - and 20 years with his productions, remixes and edits; djhmc is back with a new label - reflector.

This will be an all new platform to showcase totally remastered versions of his back catalogue as well as to provide a vehicle to bring his current and previously unreleased
work to his already loyal following and to new believers.
Cam Bianchetti is a man of many talents who is very much in demand as a DJ and a producer, and he applies the same meticulous attention to detail and knowledge of what works a dancefloor across both disciplines. Under his djhmc alias, it isa very broad church that covers disco, house and techno, whilst his other monikor, Late Nite Tuff Guy focuses more on his love of Funk & Soul. When it comes to giving a classic sound a new contemporary twist, there is simply no-one better.

With the arrival of the 'reflector' label the world is his, and he has embraced it whole-heartedly as in the past the world embraced djhmc; once again its time to prove why he is one of the most talented techno and house producers and DJs to ever grace the turntables....the Godfather is back!

Enter a world of post-IDM, ambient and reggaeton, with a progression of deep synths, reverb, and percussion whose rhythms are born from the southern hemisphere. This is the world of DJ Python, a.k.a. New York based producer Brian Piñeyro, who also sometimes goes by Dj Wey, Deejay Xanax, and Luis. Making his Dekmantel debut with an extended EP of contemporary electronica, fashioned in his cult unique style, Python brings his deep-reggaeton style to the Dutch imprint.

With his first LP Dulce Compañia released in 2017, Python extended his cult status in the electronic music sphere with motives of ambient, and tropicale, all the time keeping his music deeply rooted in classic underground dance music. Along with a Breaking Through feature on Resident Advisor, an almost legendary appearance on Boiler Room — in which he ignited the room in Santiago with bellowing reverbs —, extensive touring, and a residency at New York’s Nowadays (healthy programmed by the team behind Mister Saturday Night), Python has dutifully snaked his way in today’s cult artist category. Making his next step with this six-tracker on Dekmantel, Python aggrandises his prestigious drum sequencing, merging the world’s of drone-driven electronica, cerebral synths, and steely out-of-this-dimension-dancehall.

The EP’s pening track 'Lampara' snakes and twists, like a rugged 90s London broken-beat, electronic exploration, evoking nostalgic feelings a la Boards of Canada. The retro aesthetic flows through with second track 'Tímbrame', where the tropical reggaeton percussion floats through wafty, deep synth melodies and chimes, like a vibey, emotive, come-down, get-down, post-party dancefloor filler. 'Cuando' steps up a gear, as the digital percussive rhythms go into overdrive, while 'Espero' goes all Gaussian, by offering a transportive, meditative expression. 'Be Si To' pulses into full Phython territory, chops-and-cuts-and-slices across a sleuth of Warping, proto-drones. The record’s final track 'pq cq' is a singular question mark about darkness, feeling, and trans-dimensional thinking, as the track shifts in-between kicks that feel one and the same between past, present, and the dub.

The Moment Is Forever' by Draso finally on vinyl.

For the eleventh release on their main catalogue Haven are excited to invite French king of spooky crunched-up rollers and Wrongnotes member Draugr to the label for the first time, alongside some half-time madness from Headless Horseman on the remix.

The A1 gets us moving with Gjöll, where creepy atmospheres, disembodied vocal hits and noisey drum rhythms crash together in a concoction of hard techno destruction. The A2 continues this formula in Völva, with rolling synth lines and demonic ambient textures leading in to an infernal animalistic wail breaking in to the mix following the breakdown.

The B1 continues the destruction on the flip with Vigrid - a hectic drum rhythm work out buttressed with spiky metallic patterns and further ghoulish sound design and sampling. Headless Horseman closes out the record with his remix of Gjöll, transforming it into sinister half-time stepper ripe with droning atmospheres and powerful drum hits to finalise another offering of club ready mania from Haven.

The Minneapolis-raised DJ/Producer’s second album following 2014’s ‘Monoliths’ lands on Radio Slave’s Rekids imprint in November.

Although based in Berlin for several years, Dustin Zahn has continued to exert influence over the fertile but steadfastly underground Minneapolis techno scene as part of the Intellephunk collective whilst cultivating a worldwide rep via releases for Blueprint, Token and his own Enemy Records. The ‘Gain of Function’ LP sees Zahn channelling the groove-fuelled techno of the late ’90s and early ’00s and shaping eight powerful but funky contemporary techno tracks that display the decades of experience under his belt.

Forged from a series of live jams with two drum machines and two synths, the album is a refined collection of raw, purist techno brilliance. Across the A-side ‘Tell Me About Paradise’ brings shimmering staccato chops under bright and airy percussion before ‘Tangie Groove’ picks up the pace with floating pads, vocal slices, and a rumbling bassline. On ‘Lucid Dreams’, scattered percussion plays with hypnotic synth licks, while ‘Smoking in Silence’ sees off-kilter leads dancing between emotive vocals and evolving drum loops.

Opening the second disc is the deep and shuffling ‘Crimson Cheeks’, with trance-inducing samples nestled between sharp drum hits and rolling synthesis, and ‘Days Like These’ takes a darker turn as twinkling arps and droning pads carry the track. ‘Shark Rodeo’ featuring Jeremy Black mangles samples into a dense rolling affair, before closing number ‘Next Level Looseness’ drops the 4/4 pattern for a raucous club track, combining oddball sound sources and unruly production techniques for a trippy finish to the album.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, with anyone catching his marathon sets at the likes of Berghain exposed to expansive sets. In addition to his techno-heavy catalogue and DJing prowess, Zahn has lent production and engineering skills to bands and singers, recently working with Poliça and on Carm’s Pitchfork approved eponymous album. Beyond this, his vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the scene.

E-bony returns to Distant Gaze with a full 6-track EP, diving deep into the unfiltered world of acid and Detroit, where roots meet modern.

This release delivers a range of moods and intensities through analog textures, heavy-hitting kicks, and gritty basslines that have become synonymous with E-bony’s distinct sound. As the EP unfolds, PRZ shifts gears into a futuristic electro soundscape, a glimpse into a sci-fi utopia. Clouzer wraps up the EP with a crushing rendition of ‘Let it Be’—a hard-hitting rave anthem.

2025 Repress

B2 track ends in a 4 beat locked groove.

BBMXI!! What a ride. Eden is back with another (un)holy 4 Track Ep.
You can not stop the Big Beat Manifesto, it is here to capture dancefloors across the globe, gaining
new followers by the minute.
Give in to it, surrender to the beat & move your feet. Bless you in the morning. Peace and unity.

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

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

Connecticut's Jon Beall, recording as Entro Senestre, has gained critical acclaim thanks to brilliant releases on labels like W.T. Records, Echovolt and L.I.E.S..
On his debut for Dekmantel, Beall has taken his signature vintage flavors of techno and electro and pushed them into news spheres of the frightening, combining chalky, continuous drum tracks with an ear for emotionally challenging melodies. Championing timeless electro-techno that breathes real soul, this four tracker does Senestre proud and alters a dynamic EP that is ear-piercing and contemplative, nifty and evocative.

Dekmantel happily presents Esa Williams's debut EP Aweh on the label. With his discography growing steadily over the past couple of years, the South African artist constantly breathes new energy into his music by magnificently incorporating global influences in his work. His Dekmantel Records debut and three-tracked Aweh is no exception, and includes his promising hit track 'Blast'.
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For Williams, Aweh, which is Capetonian slang for 'awareness', spreads the message of his continuous musical journey and presents his many musical partnerships. Especially, 'Blast' shows a true master piece on this release and is a perfect mixture of eerie Afro-noise with staggering traditional Gogo music vocals. 'It's very special to me', Williams says about the track. 'I made this when I was in Uganda to record an album with the children of the legendary Tanzanian artist Hukwe Zawose, including Msafiri Zawose. One of them, Pendo Zawose, had an extremely powerful presence and was doing incredible backing vocals. I wanted to see what she would do if I presented her something totally different, so I put on an extended version of a modern kwaito beat I got from Narch Beats. We only did one take, but her vocals completely blew me away.''

The flipside covers two well-thought gems including 'Rift Valley', a house track mixed up with drums and vocals from the East African collective Santuri and Abakisimba. Aweh's 'Rent-A-Disc' represents the name of a Cape Town based music library that opened its doors in the early to late 90s. The library was the place to be to get all the early house records for many local DJs on the Cape Flats - including Williams's late father - and served as the inspiration for the B-side track. A dark, energetic and yet percussive Cape Town meets Chicago vibe is the result.

1x each customer !
Surprise re-issue of this near mythical 12"! It seems nearly everybody missed it the first time round... DEKMANTEL & MAGNETRON team up and do the right thing and polish up the old girl to 2015 standards. Expect to hear this absolutely everywhere this summer!

180g 2026 Repress

As the first record in Feral's 'Climbing Himalaya'-series reached the summit, we now slowly start to descend along the slopes passed shimmering lakes and enchanted forests. Part II comprises four dense ambient deep techno cuts infused with tribal influences and the inimitable dubby sound of Feral.

Part 1 & 2 has so far received early support from many prominent deep techno producers such as Claudio PRC, Deepbass, Etapp Kyle, Giorgio Gigli, Kwartz, Ness & Svreca to name a few.

Franck Roger is back with 4 handpicked tracks from the legendary archives of Real Tone Records.

Real Tone Classics Vol 5 – a limited-edition vinyl release act fast!

Experimental work from Mathew Jonson (Cobblestone Jazz)
"Worthwhile albums tend to be as much about the process of making them as they are about the end products themselves. One can almost hear formal, technical, even philosophical questions being asked and answered on them in order to arrive at something personally and politically new for the artist. "A Box Full of Magic," at once sprawling, cosmic, and psychedelic in the best of ways, follows in this album-making tradition. It is a record steeped in off kilter percussive time, live recording, occasionally summer cloud-paced tempos, and lush, emotional, melodic instrumentation. "A Sunrise On the Front," the final track of the record (and a composition crushing in its beauty), encapsulates much of this: recorded live on a Rhodes, the melody gives voice to the paradoxical sense of hope even during the pathology of war. Such conceptual ambition fits perfectly well within the capacious vision of Mathew Jonson's Freedom Engine, a project whose very name seems to explore and allow for the conceptual paradox and complexity of approaching freedom through the engine of technology. In a fundamental sense this tension between freedom and machine informs much of the album proper. Desiring to break out of his old ways of production and the boxes that went with it, the album abounds with fresh fascinations in things like the sound of mathematical equations, quirky time signatures, and experimental phrasing through intuitive timings to unlock a sense of magic, play, and spontaneity. There is, likewise, an interest in the liberating potential of deconstructing old sounds to make new ones, as Jonson applies techniques like innovative noise gating on classic drum samples to create space age percussion. At other moments, on "The Very Strange," for instance, air itself is sampled in field recordings to create unnatural percussive patterns. As is often the case with Jonson's work, an encyclopedia of machines and synths are employed in the making of 'A Box Full of Magic," but what is perhaps new here, and in keeping with the dialectic he traces between freedom/engine, is that there is a non-mechanistic, spontaneous impulse at work in the recordings. While it is not a live album, it has an at times spiritual and organic inclination despite or perhaps because of the way his panoply of gear--Prophet 5, cs60, VCS3, et al--attempts to capture dream-like tonalities that can reach poetic heights on a track like the aforesaid "Sunrise" or morph into an almost diabolical, Lynchian dimension on "An Evil Charm (Where Is the Forest)." But while it is tempting to get lost in the trees of synth-arcana with Jonson's work, we should not lose sight of the forest here: With its openness to new ideas which in turn generate an album teeming with them, "Box Full of Magic" helps to expand the sonic vocabulary of contemporary dance music.

Mathew Jonson lives and works in Berlin. He has been experimenting with electronic music since 1986. "

It is often said that the best art comes out of adversity, and so it is that producer Frits Wentink, photographer Erik Madigan Heck and actress Tilda Swinton have collaborated on Safe Passage, a fascinating audio-visual project born out of loss. Consisting of classical, choral, and electronic music in three movements, the gatefold album will be presented by Dekmantel with a 40 page booklet of additional photographs and paintings, as well as digital only remixes from Matthew Herbert, The Soft Pink Truth, BvDub, and East of Oceans.

Dutch producer and renowned innovator Frits Wentink helms the Will & Ink and Bobby Donny labels, builds synthesizers and beautiful controllers, and puts out always experimental, left of centre house music that pushes at the boundaries. This project initially started out as him attempting to musically illustrate the photography of American visual artist Erik Madigan Heck. The internationally renowned Heck is known for a lavish and experimental use of colour that has won him the prestigious International Center of Photography’s Infinity Award as well as make him a regular contributor to high profile media such as The New York Times Magazine, Vanity Fair, and Harper’s Bazaar.

Midway through the project, Eriks mother was hospitalised due to breast cancer complications before also contracting Covid-19. By her bedsides and as a means to ease her passage, he repetitively played the first portion of the score, and then, once she passed, he decided to commemorate the music's function as a soundtrack for her transition to afterlife by naming it Safe Passage. The involvement of Academy Award–winning Scottish actress Tilda Swinton has lent the music an extra dimension of spirituality: throughout the album, she interjects whispered fragments of Heck’s poetry, blurring the lines between one phase of music and the next.

The music has three movements across two sides: Side A, Safe, has a sense of hope and reflection as it undulates from minimalist string and brass arrangements to ambient and dissonant classical piano. Side B, Passage, then depicts the start of the transition into the afterlife as the voices of a choral madrigal ensemble gradually diverge, then break down entirely before a grand tonal expansion leads into a frenzied crescendo of choral vocals, hardened dub techno and anxious rhythms that convey the violence of the soul’s exit from this world. Finally, a cathartic Epilogue resets and bids farewell with the gentle sounds of a piano.

Because of the global on-going loss of life as a result of Covid-19, Safe Passage has become a soundtrack in which many people will find solace as they remember the sad transitions made from this life to the next during this unprecedented time in history.

global swing announces new sub-label “healing channel” with a collaboration between berlin’s taslo and global swing boss garrett david

garrett david & taslo present Exaura

The world we know has dissolved. Sleep has become a commodity while neural markets bloom overnight. Your first currency? Your consciousness. Your dreams? Already sold. Thanks for nothing. Here’s a receipt for your precious bandwidth. However…deep inside the datastream, redemption exists. Mystics called it the Healing Channel.

Disco Segreta proudly presents the reissue of one of the most elusive and sought-after gems of underground italo disco, Govindo’s “Ou Ka Vini Com Moin”.

Originally released in 1983 on the obscure “Gala” label and quickly withdrawn from the market, this hypnotic, space-tinged cosmic italo disco bomb remained virtually unknown outside a small circle of hard core italo disco collectors — until now.

Wriitten by Mario Baldoni aka Miro and recorded during a journey across the French Antilles, the track was laid down in Fort-de-France, Martinique, capturing a unique cultural and musical intersection. Its title comes from a typical Martinican Creole expression—”U Ka Vini Co Muè”—meaning “C’mon, come with me.”

The track’s lush arrangement, crafted by Gregorio “Greg” Puccio, is a quintessential snapshot of analog italo disco at its finest: Roland Juno 60, JX-3P, Korg PolySix / Poly800, and LinnDrum LM-1 create a dreamlike, deeply atmospheric soundscape.

For the first time, this edition presents the original 12” full-length versions (vocal/instrumental), alongside the shorter 7” vocal version, remastered directly from the actual analog master tapes, plus two new remixes: the Marcello Giordani Hypnomix – a future electro synth classic from one of Italy’s finest producers and the Miro’s Fort de France Sunset – a balearic downbeat contemporary reinterpretation by the original artist 42 years after.

The Spanish Hace Calor Crew are back once again with two more classics, freshly tweaked with intros and outros for seamless mixing in your DJ sets. This time, they bring the heat with timeless cuts from Special Ed and Ms. Dynamite, guaranteed to spice

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)

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

Voodoos and Taboos unveil their highly anticipated new series with ‘Human Aventura,’ the debut album from promising Corsican producer.

Right from the start, his talent captivates listeners. The record boasts exciting collaborations with fellow artists and friends, including Noiro and Blinkduus Dischetto (Solid State).

With its esoteric and melancholic atmospheres, interwoven with nods to the Chiptune scene, the album seamlessly blends elements of electro and house music. “Defined as ‘libidinous Mediterranean spoken disco,’ the album promises an immersive journey into a unique sonic landscape, where sultry rhythms meet hypnotic melodies.

Hyperstellar returns on Bordello A Parigi with a nocturnal and deeply magnetic EP. In For a Flash captures the fleeting beauty of a moment stolen from the night, the tension of a glance that will never return, the sensation of having loved inside a dream. The record carves out a singular aesthetic through new wave, shady atmospheres, and early electronic influences.

The eponymous track, In For a Flash, opens the record like a sudden vision: a burst of light in the dark, propulsive, yet already fading. From its fatalist urgency to the longing of The Dance We Never Had, each piece suggests a different facet of the same mirage. Surrender unfolds like a slow implosion, a toxic war between release and control, while L’Amour sur Saturne drifts endlessly in a suspended space, like a tale where the impossible is still imagined.

Influenced as much by Burial as by New Order, the solitude of classical composers or eccentric glam rock acts, Hyperstellar continues to build his artistry on numbers, and intimate constellations.


If heavy industry is a thing of the past, no-one told Identified Patient. For the past few years, he has been a one-man factory: by day, assembling component parts of acid, techno and all varieties of wave (dark, cold, minimal) on the production line; by night, a DJ dynamo pulsing with so much energy he could power a small city. His style is the kind of churning, lithe, fractured machine funk that could make Trent Reznor weep with envy – mean but clean, sinister and stomping but crucially, never overconfident or overblown. After two show-stopping performances at the parent festival last year, Signals In Snakes marks Identified Patient’s first Dekmantel release, for the technoid UFO sub-label.

Opener “The Drip” lives up to its namesake, slowly lowering elements into the field of play with partner in crime Sophie Du Palais. No prizes for guessing what exactly might be dripping through this fetishistic slow burner, so we’ll let your sordid imagination run wild. “Let Me Do It” takes the pent-up anguish and lets rip with the mood of unearthed electrical wires sending sparks flying, an upscaling of intensity that continues on “Chantal Chant.” Envisioned as the moments of tension before a gladiator fight in ancient Greece, the acidysound is that of barely restrained militant chaos. Our battered fighter’s swan-song, “Lucy’s Comeback,” marshals the dark undercurrents of bass and brings us to a close. Giving a new lick of shiny paint to a well-weathered industrial exoskeleton, Signals In Snakes is one to unify the cold-blooded villains and hot-blooded lovers all summer long.

Nerve Deposit is the new EP from Identified Patient on Dekmantel’s sub-label UFO. The record is a lysergic stew of industrial, electro, breakbeat hardcore and synth-rock, with the purpose to get under your skin and set your nerves tingling. While extending his signature sound, the Dutch producer upgrades his process and marshals a new complexity from his machines. The result is five tracks which stalk shadowy hallways but never lean too far into the darkness, at once menacing and lively. With a laboratory’s worth of sleazy synths, bubbling effects, raking textures, plunging bass and rhythmic left-turns, Nerve Deposit suggests we are in the court of a Professor, not a Patient. Tantalisingly, the best feels yet to come.

2x12" vinyl with printed innersleeves.

"Interstellar Funk has crafted a raw, yet simultaneously hauntingly beautiful and endlessly intricate record. Layers of blended harmonies and melodies form the basis for jettisons into leftfield experimentation, heavily processed drums and oscillating frequencies. The result is as infectious as it is pensive; a transcendental journey into a synth-laden landscape.

A stalwart name on our Dekmantel line-ups and with prior releases on the likes of Rush Hour, Berceuse Heroique and L.I.E.S., Interstellar Funk is synonymous with the more brooding side of Dutch electronica. Akin to his DJ sets, which also glide effortlessly between genre, tempo and sound, Into the Echo is daringly eclectic, combining sung-spoken iterations with hypnotic samples and machinic industrial. The release will be supported by a hardware based live-show tour later in 2022.

Ethereal voices haunt the album, a spectral presence emanating both on the titular track and its eponymous twin, 'Octave Echoes.' The latter is built up around breathy reverberations partnered with steely chords and dissected drumbeats. While 'Crickets at Night,' featuring fellow Amsterdam-based producer Loradeniz, switches pace from ghostly ambient to a pulsating, metronome's tick, clockwork rhythms and eerily looped vocals.

Channelling introspective atmospheres, Into the Echo nevertheless holds steadfast to a club- ready beat and momentous bass. 'Northern Winds,' composed with JASSS, edges along the hardcore continuum, exploding with spiraling percussion and flashes of the pair's shared affinity for electro's gyrating-circuitry and dub's ominous dread. And, ionised by piercing synth and bolts of acid, 'Psycho Panner's occultist refrain climbs to an otherworldly crux.

A homage to the potency of analogue machinery and experimental electronica, Into the Echo fluctuates with organic life, often melding synthetic and acoustic instruments together. Guitar riffs flutter on 'Dreamers' before pattering out into warbling, glacial fragments and 'Last Piece of the Puzzle' features a glockenspiel-esque rhythmic element rising to a harmonic crescendo.

Sleeve Photograpy by Bea1991. "

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

Electro, disco-chic, doused in gooey pop, sultry silk, and retro synth-boogie. Dekmantel welcomes the good time vibes of Canadian selector, and retrotastic, vibe-poppin’ producer Jex Opolis. Cult figure, obsessive Discog-er and Good Timin’ boss, the Brooklyn-based, Canadian has etched out a global reputation with his exotic taste of lo-fi, party productions, with this — his Dekmantel debut — not straying far from the formula. On Earth Boy, the hit making powerhouse turns up the synth furore to maximum, with electro and Italo all blending together, in a powerful melee of beachtime house, and crushing sunset disco. Leftfield soul that’s not just for the diggers, and the perfect introduction for his summertime debut at Dekmantel’s galant showcase festival in Amsterdam later on this summer.

Title track 'Earth Boy' pays homage to the classic electro of the early 80s, with its 123bpm rolling breaks, and throbbing synth basslines. It’s as if Drexciya has a disco-baby with Spacer Woman. With its cliquey stomps and robot pulses, and nods to the wave-style records that empties so many of Jex’s sets, 'Earth Boy' is classic future disco. 'Desolation' is bridled with greater depth and emotion, with Italo-pomp and a certain rhythms digitales flare. Braver souls may embrace the vocal mix when it comes to playing out, with its compassionate overtones and soft celled-bassline. Its time to brush aside the winter hue, and say hello to those good-time blues, and frolic along to the jetset, neo-Balaeric house stylings of Jex Opolis.

One NYC's brightest drops a beauty of a double LP on Dekmantel. Awesomely dope! TIP!
Spring 2014 will see Dutch label Dekmantel release the debut full-length album from New Jersey producer, DJ and Inimeg Records boss Joey Anderson. Entitled After Forever, the album is the natural next step for a producer who has turned out plenty of deep and intriguing techno EPs for labels like Latency, Deconstruct Music and Syncrophone over the last couple of years.

Having been championed by the connoisseur likes of Levon Vincent and DJ Qu before the rest of the world cottoned on, Anderson's style has proved to be truly idiosyncratic, where near bottomless techno grooves get run through with haunted piano lines, shadowy synth work or elegant drones. There are barely ever any claps or snares, instead just plenty of deeply hypnotic kicks and plenty of noir tension.

'Every track on the album has its own take on my personality, my mentality musically and my vision of off-dancefloor music,' says Joey. 'I find it very difficult to create something for people just to like. I'd rather pay attention to making them get close to the album and uncover the ideas within it. Being my first LP, it's dedicated to my two daughters, Akatriel and Auset.'

As well as two tracks that were released on Anderson's previous Dekmantel EP, the album offers nine new cuts and kicks off with 'Space Between Curtains'. Haunting, saddened piano keys linger in the air above metallic synth sounds for the emotive duration of the track. Then there's the teary eyed, end-of-the-world yet optimistic vibe of 'Space Colors Ideas'. After that various intimate moods are explored, from heavy and ominous on 'Maidens Response' to celestial and cautiously uplifting on 'Archer's Ceremony' via 'Amp Me Up', which sees Anderson's spacious and atmospheric style suck you in with its weird, gurgling machine noises unravelling above an unchanging drum track.

It's an album that demands and indeed warrants close inspection, and is the sort of work that really transports you deep into another world far away from here. With After Forever, then, Joey Anderson confirms he crafts moody and atmospheric techno like few others.

Mr Anderson taking a fresh twist and releasing more excellence on Dekmantel. Big TIP!

Limited Edition including a bonus 7".
The art of omission is a craft New Jersey native Joey Anderson masters like few others.
After releasing his acclaimed debut album After Forever in 2014 and the 1974 EP earlier this year, Anderson returns to the Dekmantel label serving up the signature sound we love him for. Invisible Switch is the perfect example of what Anderson can do with very little, catapulting him to one of the finest and most original techno and house producers to date.

oh oh oh... this is a bit good! Full album from the astonishingly talented JuJu & Jordash. This time crossing their more psych side (Golf Channel recordings) with their proto-everything electronics. How many more tricks do they have up their sleeves Killer! TIP
Continuing their distinctive synthesis of spaced-out jazz un-standards, murky dub and hypnotic electronics, Juju & Jordash exploit the triple vinyl format to launch a mission bound for the innermost depths of their sound. It's obvious the writing and production have reached a new level in their exciting evolution. Now it's time for the music to reach an audience beyond just techno and house. "Techno Primitivism" is just beautiful music, period.

Another killer offering on the Dekmantel label from Juju & Jordash - 2 long assed winners on here! Don't sleep get with the 'Sensational Israeli Jazzmen' sound! TIP! .
'An obsession', that's what making music is for Gal 'Juju' Aner and Jordan 'Jordash' Czamanski, and Dekmantel couldn't be happier that these two possessed masterminds are working for them again in mesmerising ways.

Aner and Czamanski helped shape the Dekmantel label to what it is today - an ever expanding fortress of futuristic house and techno - by releasing two acclaimed albums and various singles on the Amsterdam based imprint. Now the duo prepared two of their out-flooded tracks in the form of their double a-side single 'Waldorf Salad/Third Planet From Altair'.

The title 'Waldorf Salad' refers to the legendary synthesizer that helped shape the landscape of clean, detailed yet warm electronic music. The latter is exactly what you'll recognize in the a-side cut. Juju & Jordash smoothly ride the flawless waves of house music resulting in an unfussy, old school feel. Stirring and instantly infectious, the plodding synths make for an intriguing final chapter of this track.

The aa-side contains 'Third Planet From Altair'. Here Juju & Jordash redefine an anthemic journey with a more than nine-minute-long cut. It's a quick paced, gliding deep house affair with plenty of elegant synth work and closes out yet another essential offering from the duo.

Hot and 'clean' new album from JJ&J...TIP!
Two years after the artistic statement that was their expansive third LP, famed live act and hardware lovers Juju & Jordash are releasing another full-length on Dekmantel. Clean-cut, a nine-track affair, comes lovingly pressed to vinyl in autumn 2014.

The duo fully embrace the album format, creating a tight tapestry of emotive and danceable sound that reveals more detail and depth with each new listen. Textures range from organic and lush to synthetic and arresting. Deep-space serenity gets juxtaposed with more urgent and alien paranoia.

"Clean-cut is tighter, more honest and there's less hiding behind a hazy screen of FX," say the pair.

The new release marks a clear evolution in the career of these singular artists. Clearly, Clean-cut is another feather in the already resplendent bow of Juju & Jordash.

Juju & Jordash have a longstanding and tight relationship with the Amsterdam based record label and event powerhouse Dekmantel. Juju & Jordash are a staple on Dekmantel clubnights and festivals. This is their third full-length on Dekmantel, a further consolidation of their 5 year bond.

Dekmantel won the minds and hearts of electronic music enthousiasts throughout the world with their record label and club nights over the past 7 years. Dekmantel Festival -which saw its first edition in 2013- has seen unanimously glowing reviews for two years in a row now, further affirming the path Dekmantel chose to be the right one.

What's left to explain about Juju & Jordash The longtime Dekmantel affiliated duo (Gal Aner, Jordan Czamanski) helped shape our club nights, festivals, label and other music endeavors to what they stand for today.
In other words: without these jazz trained cats, there wouldn't be a Dekmantel. It's with great anticipation that we announce Dekmantel release #8 (!) from these utterly talented musicians. DKMNTL026 is a club friendly yet sophisticated four tracker that is as abstract as it is deep, and as elegant as it is effective. Raw, energetic stuff for your peak time bag!

Well, what about Tuesday Israeli hybrid house and techno masters Juju & Jordash return to Dekmantel Records with yet another outstanding release. Their relentless work ethos makes you wonder if these guys sleep at all. Maybe that's what Tuesdays are for DKMNTL 043 is a three-tracker and a fine display of Gal Aner's and Jordan Czamanski's next-level, improv based way of painting records. 'Monday Mellow' is a dubbed out, twisted and subtly emerging house groover, while 'Wednesday Something' continues the journey with a dense electronic jazz-tinged stomper. 'Thursday, Heavy.' demonstrates their full range, combining eerie melodic synth excursions with a jagged bassline - an out of this world, destructive yet classy house bomb. As always their intergalactic excursions are superbly executed. Let's give them some rest on those Tuesdays.