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I can't even afford bed linen, let alone a 909". The unpretentious of Jay Donaldson is disarming in many different ways.
We consider Donaldson aka Palms Trax to be one of the most promising new artists to date. His sound situates him firmly along the Chicago-Detroit axis, cooking up pad-driven jams, off kilter drums and hazy synths that shift like a gentle musical tide. In 2013 he inaugurated the Lobster Theremin label, the London-based imprint that quickly became one of the most talked about record labels around. When not travelling the world for prime-time gigs Donaldson holds a residency at the widely respected Berlin Community Radio. It's with great pleasure that we welcome golden boy Palms Trax to Dekmantel Records.

Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his High Point On Low Ground EP: impressive effort number two for the Dekmantel imprint.
Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

Over the past few years, Palms Trax has cemented his place on the Dekmantel roster and become one of the family. His upbeat attitude and knack for selection have made Jay Donaldson one of the scene's most in-demand and warmly regarded selectors. Combining rare, globally-sourced finds with exuberant house anthems, his annual sets at Dekmantel Festival have showed a nearly unmatched capacity for filling floors and creating grooves. Now, the UK producer puts his talents to work on To Paradise, tapping classic Italo, wave and Balearic house for an EP that has summertime written all over it.

Title track "To Paradise" kicks things off with an infectious, melodic chorus that spirals into a pulsing rhythm. It's full of those 'hand-in-the-air' type moments, and topped with blissful vibes. "Love In Space" follows with a throbbing bassline melded with rich atmospheres. It's more Adriatic than Balearic, careening with an anthemic affection and destined for festival season. "Heron" veers away from the Italo vibes and standard structures that hold regular dance tracks together. A departure into more experimental electronics, the dynamics are controlled through rhythms and the synthesised melodies create forlorn narratives across machine-driven sequences. It's a dynamic finish to this considered and perfectly timed trio of offerings.

Over the past few years, Palms Trax has cemented his place on the Dekmantel roster and become one of the family. His upbeat attitude and knack for selection have made Jay Donaldson one of the scene's most in-demand and warmly regarded selectors. Combining rare, globally-sourced finds with exuberant house anthems, his annual sets at Dekmantel Festival have showed a nearly unmatched capacity for filling floors and creating grooves. Now, the UK producer puts his talents to work on To Paradise, tapping classic Italo, wave and Balearic house for an EP that has summertime written all over it.

Title track "To Paradise" kicks things off with an infectious, melodic chorus that spirals into a pulsing rhythm. It's full of those 'hand-in-the-air' type moments, and topped with blissful vibes. "Love In Space" follows with a throbbing bassline melded with rich atmospheres. It's more Adriatic than Balearic, careening with an anthemic affection and destined for festival season. "Heron" veers away from the Italo vibes and standard structures that hold regular dance tracks together. A departure into more experimental electronics, the dynamics are controlled through rhythms and the synthesised melodies create forlorn narratives across machine-driven sequences. It's a dynamic finish to this considered and perfectly timed trio of offerings.

Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his High Point On Low Ground EP: impressive effort number two for the Dekmantel imprint.
Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

"Parrish Smith is never one to let you breathe easy. As a globally renowned DJ, he’s become synonymous with high-velocity sets that cut and collide through his distinct array of obscure sounds. Meanwhile, however, the artist has been carefully constructing his own musical idiom. Manoeuvring his most delicate and most defiant feelings, Light Cruel & Vain (Dekmantel Records, 2022) is the first fruit of that painstaking process. A compilation of ‘imperfect music’, the record is shrouded in the artist’s characteristic veil of mystery. As always, his sound cuts and chokes – sometimes cruelly, sometimes soothingly – yet this record offers a new, longer, lighter gulp of air. Here, Parrish Smith bares his most private process so far: one of personal transformation and becoming a better version of oneself.

Light Cruel & Vain was developed over the course of nearly three years, following nearly a decade of individual experimentation. Where on the one hand, LC&V reflects an inward pilgrimage (aka Parrish Smith facing the world and Parrish Smith facing Parrish Smith), the project simultaneously reflects the birth and growth of a band. Each track on the record is originally based on a solo idea, moulded and fine-tuned in conversation with contributing musicians Sofiane Brahmi and Javier Vivancos, then finalized by the producer. The collaborative process brought together niches that wouldn’t typically share territory or sound, allowing music to emerge that transcends each of their boundaries. In the making of LC&V no conventional studio sessions occurred; due to covid-19, the full collaboration process was a remote affair of sharing snippets, (re)working recordings and, most of all, exchanging thoughts and feelings.

Those who know Parrish Smith a little, know his long-standing mantra: ‘No elitism, no prejudices, no genre. Hypnotic, tense, comprehensible – a state of mind.’ It’s this dictum that best describes the LC&V sound(s). Tapping into all irreverent niches close to his heart – noise, punk, industrial, electronic, and even pop – Parrish Smith refuses to foreground one influence over another, instead layering and warping his personal interpretations of each. To categorize his seeking sound would be to limit the artist who, more than anything, thrives in limbo. ‘You could call it a concept album because the sounds are so far apart. But perhaps that’s not a concept, perhaps that’s just me…’

Parallel to his extensive musical experimentation, the past years have allowed Parrish Smith to zoom in on his writing. The resulting fragments form the foundation of LC&V’s collage-like, soul-searching lyrics. Never, however, does the artist take his words to the front of stage; instead treating his voice as a malleable instrument, just one of many shifting layers in a bigger picture. The distorted lyrics, as such, are an statement: ‘It’s alright to be insecure about some of your qualities. In fact, the key is to embrace just that, to take matters into your own hands.’"

With their first LP in over three years, Californian psych-dub duo Peaking Lights offer an outlet from the mundane with a kaleidoscopic collection of lo-fi, escapist-electronic pop. Over their illustrious twelve-year-plus career, the husband and wife duo of Aaron Coyes and Indra Dunis have set themselves apart with their characteristic dreamy, and melancholic sound that blends together elements of dub, and delicate-but-quirky electronics. E S C A P E, Peaking Light’s sixth album, and first for Dekmantel, finds them at their finest, replete with atmospheric landscapes crafted out of homemade-percussive loops, that sit alongside wondrous electronic pop and krautrock-like hooks, all tied together by Indra Dunis’ composed and hypnotic vocal charm.

Now based out in Amsterdam, and having firmly established themselves on Dekmantel with their 2018 EP Sea of Sand, Coyes and Dunis’ unique brand of indie-synthwave yet further explores their ongoing delve into transcendental, psychedelic music. With E S C A P E, the production duo illustrate their pragmatic use of instrumentation and dubbing to create more heady and celestial avant-pop. From the very outset on opening track ‘Dharma’, the band’s iconic retro-dub aesthetic kicks in, before being accompanied by a litany of drum machines, sweeping compressed effects, and Dunis’ hypnotic serene vocals. Coyes, somewhat of a connoisseur and collector of varying studio gear adopts his steadfast dynamic approach to production, playing with new mixing techniques, tape loops, compression and effects throughout. It’s this freedom to indulge, and create new instruments, processes and sounds that have made Peaking Lights unique; an ever-present industriousness that characterises E S C A P E, whether it be on the deep textures of ‘Change Always Comes’, to the cathartic 80s pre-rave-wave of ‘The Damned’.

E S C A P E is a vibrant moment full of multi-spectral melodies crafted in an aesthetic the group have excelled in and made their own; a style exemplified by their breakout 2011 LP 936. And throughout E S C A P E, whether it’s on the esoteric ‘Eyes Alive’ to the mesmerising beach rhythms of ‘Dreams’, Peaking Lights’ rich and reverberated sonic palette shines through. For both dreamers and dancers alike, the latest offering to Peaking Lights’ illustrious catalogue is a true mind-expanding and fantastical listen full of passion and catharsis.

A cybernetic rush of non-conformist techno from Italian maverick Piezo.

Milan-based Piezo is usually found at the helm of his Ansia label, exploring a versatile spectrum of experimental club music grounded in soundsystem presence and non-linear structures. On Ecstatic Nostalgia he edges his sound into a more driving, techno-spirited framework which lends itself to the energy of the UFO series beautifully. From tightly wound, artfully fractured 150 rumble and elegant sci-fi breakbeat on to needlepoint electronica and subtly trance-brushed atmospherics, Piezo's broad palette fuels an ear-snagging EP which balances visceral impact with a deft touch.

Anyone familiar with Dekmantel's flagship festival will know the UFO stages showcase spikier strains of modernist body music, and the label series serves to push these sounds forwards in the hands of consistently visionary producers. After a what could be seen as a brief pause in the UFO series - it's with a fresh wave of releases.

It’s time to unleash the mini-album from pothOles: Today Tomorrow Whichever Comes First. This project started well over a decade ago and has evolved into six tracks. It’s a lush journey of deep house, built on scattered breaks, sample chops, and growling acid lines. The release features unique sonic textures, including field recordings captured during a sabbatical in Western Kenya back in 2011. The full pothOles package.

For the first time ever, this Common Labour wax arrives in a fully printed sleeve, featuring amazing artwork by Jessica Michaela. Don’t miss out on this limited run—only 195 hand-stamped and numbered copies are available worldwide.

Next up for the brand new DKMNTL UFO series is Rohan Walder aka Randomer, who has been causing a stir with his uncompromising, bass heavy cuts on labels like Clone, L.I.E.S., Hemlock and Numbers. The Londoner graces our new platform with his signature sound that blurs the lines between big boned

UK DJ and producer Rohan Walder, a.k.a. Randomer furthers his exploration into deep, spatial techno on Dekmantel's UFO imprint. Fusing together two-step rhythms, cavernous beats, distortion, layered kicks, and an attentive detail to sound design, Randomer delivers an uncompromising array of abstract and destructive techno tracks.
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Randomer's approach to techno has always mantained a bassier, obtuse approach to sound, with polyrhythm beats that have helped set his sonic identity apart from his peers. Having released the Running Dry EP on DKMNTL UFO in 2016, Randomer is firmly establishing himself as one of the label's favourite artists, with a resounding appearance at the Dekmantel festival in São Paulo, and a prime slot awaiting for him in the UFO tent at this year's festival in Amsterdam.

The latest EP by the UK producer kicks off with 'Van Pelt', which skips on the off-beat at just over 130bmp, and textured with kicks that sound like two robust, metal dumpsters being hit together. Littered in the background are gongs, random percussive sounds, and something very alien, making it the perfect track for the UFO tent. 'Shadow Harp' is quintessential techno, with yet more thudding, dark-kicks layered against a syncopated plucked and jarring bass. 'Dissolve' drip and oozes with a sunken undercurrent of dystopic-melancholy, driving in ruptured reverb with a tribal percussive foundation. Final track 'Slicing' dares to take things a little further, as the rounded-hollow kicks punctuate against more metallic, and analogue sounds - like a war of machines, set to a rhythm of abstract, free-flowing gust of techno cuts. Throughout the four-tracks, Randomer showcases his innate ability to excite and surprise with dynamism, and cutting sounds, with a technique that has been well-honed throughout the years. As he stated in an interview with Resident Advisor in 2016, Learn the rules like a pro, so you can break them like an artist.

Having launched in 2016, DKMNTL UFO has released critical cuts from Peter Van Hoesen, Anthony Parasole, and Voiski.

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.

Earlier this year, Dekmantel announced the signing of Robert Hood for a new project titled Paradygm Shift. Over the course of three different EPs, which will eventually evolve into an album, the Detroit but now Alabama based legend presents Paradygm Shift. Hood: "The idea behind Paradygm Shift is similar to a shift in our focus. We can become so complacent, we are so comfortable with our surroundings, I think this is the time for electronic music to find a new mindset
Volume II serves up two more killer techno floor bombs by the never disappointing originator. 'Master Jack' is a classy and deadly effective cut that gets its strength from a simple, yet biting stack of funky chords, while pulsating bass lines and rattling hats are holding it together. More fast-paced action can be found on 'Magnet', a no-nonsense, minimalist stomper you can store in your peak-time section. Refined techno action times two, but what did you expect

Paradygm Shift, the first Robert Hood album to be released since 2012. A staggering record of techno dynamite sees the Detroit legend excelling at what he does best. The record serves as a milestone for the Dutch label Dekmantel, celebrating its tenth anniversary, with the label's 50th release.
Paradygm Shift is return to the distinguished style that defined Robert Hood's music in the early 90s. It is the older, and more mature brother to Hood's classic Minimal Nation, highlighting his more evolved, technical craftsmanship, It is an album of crisp, smooth and delicately orchestrated techno that is quintessentially minimal in focus, and grandiose in sound, juxtaposed with electronic funk, wrapped up in blisteringly urgent, and honest, pulsating techno.
The LP is the culmination of a three EP series released on Dekmantel. 'The idea behind it is just a shift in our focus. We can become so complacent; we are so comfortable with our surroundings. I think this is the time for electronic music to find a new mindset." Robert says about the record's concept. "I felt it necessary to reiterate Robert Hood as an electronic music artist who is bringing minimalism back in the forefront, and not to get lost in the melody. I want to get back to the simple repetitive programming that I'm known for, and to me it was returning to that, and shifting the listeners' focus.'

Like his DJ sets, Paradygm Shift gradually warms up into a rolling hypnotic, succession of pious rhythms that make up 'Idea'. The orthodox template never brakes, but evolves as the album proceeds. It is beholden of a man born of playful discipline. 'Solid Thought' points to a heightened sense of purity, 'Magnet' is unabashed and unflinching in its ruthlessness, while 'Pneuma' is the record's only soulful link to Hood's recent Floorplan past. As the record draws to a close, penultimate track 'Pattern 8' plays out as a beautifully synthesized, hymn that points towards to an earlier period of machine-driven, soul music.

Paradygm Shift is the perfect marriage, cementing the Detroit-Dutch relationship further. Although this will be Robert Hood's first LP release with Dekmantel, the marraige between the two stretches back over seven years. Since DJing at Paradiso for the Dekmantel crew back in 2010, Robert Hood has been a regular fixture for the clubnights and festivals ever since, while also contributing remixes to Juju & Jordash's Deep Blue Meanies EP. 'I could tell these guys were hungry for electronic music. Dekmantel is about making things happen, and so like minds think alike,' Hood says about their history,

Speaking about the record project and signing, the team behind Dekmantel stated: "Just like a lot of Robert Hood fans, we're most enthusiastic about his older, minimal material. After all, it's what made him famous in the first place and was an important ingredient in the early Dekmantel days. His Paradygm Shift music appeals to this period but has a modern feel too it, which makes it very exciting.'

Following on from the 2017 LP Paradygm Shift by Robert Hood released on Dekmantel Records, the Detroit legend returns to the imprint to deliver the final installment in a trilogy of EP releases that initially began back in February 2016. Now based in Alabama, the Detroit-techno producer is returning to his roots. Embracing the trademark, minimal, funk techno sounds that defined his earlier career, Paradygm Shift Vol. 3 is classic Hood, operating in new, and uncharted ways.
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The EP is an extension on the concept as outlayed by Hood during the project's conceptual stage: ''The idea behind Paradygm Shift is similar to a shift in our focus. We can become so complacent, we are so comfortable with our surroundings, I think this is the time for electronic music to find a new mindset.'' Kicking off off with 'Red Machine', where again parallels can be drawn between the days of Minimal Nation, and Internal Empire - the sound is sparse and brutalistic, representing a challenged future. A progressive melody syncopates along the tracks percussive, backbone, arching its way into the track's eventual demise. On the B-side, 'Transform' provides a composition of stripped, down electro, while taking in the 606 style, and adding additional, textural depth. It's a track full of subtle melody, and high-ranging claps, that make 'Transform' the perfect transitional tool, and standalone floor-filler at the same time.

'Red Machine' and 'Transform' reflect Hood's modern take on challenging techno. Meditative in their sequenced repetition, the tracks draw you in with their audacious, and memorizing sequences. It's contemporary techno, albeit techno that reflects Hood's style and nature. Pulsating, electrifying, with dark undertones, and very much of that Detroit flavour.

Australian producer Roza Terenzi is next on Dekmantel with a quasi-cosmic, tropospheric slab of deep rave. The blend of breakbeats, distorted rhythms, and quirky yet sublime analog melodies evoke the senses, making this an exciting label debut from one of the underground's rapidly rising stars.

'Let's Ride' kicks of with '3.I.Y.', a track that initially reverberates and tweaks, as if crashing in from outer space. 'Bricks' slows the tempo down, and adds larger degrees of space, with a 110bpm chilled out timbre, and a wispy-palette. 'Freak N Tweak' is another slice where the mood cuts gently between ambient bliss, and analogically synthesised, percussive electro - like a downtempo, cerebral take on classic electronica. The EP's closer 'Open Me' takes the music back to full rave-speed, with layers of classic-era breakbeats and vintage sounding keys, all manifesting itself in Terenzi's contemporary take on pulsing, esoteric dancefloor rhythms.

Building on the buzz around his dynamic techno releases of the past few years, Sam Goku makes a welcome debut on Dekmantel with four striking set pieces which subvert the rules of the average floor fodder.

Through his steady stream of output on the likes of Atomnation Berlin-based Robin Wang has established himself as a must-check artist with an instinct for the unconventional. That comes through in jaw-dropping fashion on Radiants’ opening cut ‘Tides (Under The Moonlight)’, a swirling, mystical thumper which rises with graceful restraint to a thunderous peak. By way of contrast ‘Tanggu FM’ brings things up close and claustrophobic, using slippery sound design and stuttering vocals to create a different kind of maverick energy on top of the rugged low end. Even when he does reach for anthemic hooks on the EP’s title track, there’s a fundamental otherness to the sparkling chords and a toughness to the beat which edges out the competition.

This is just a snapshot of the versatility at work across Radiants, a record which will cement Goku’s position as a standout producer taking a less obvious path to truly distinctive, devastatingly original showstoppers.

Marking his return to Mind Against’s HABITAT imprint, German DJ/producer Sam Shure steps forward with ‘Best Of Me’ - a sophisticated four-tracker that reflects his continued evolution as a producer and performer. Known for fusing adventurous electronic design with melody-driven storytelling, Shure’s latest EP captures both the energy of the dancefloor and the introspective moods that define his sound.

Title track ‘Best Of Me’ opens with warmth and precision, balancing vivid melodies with propulsive rhythm and infectious vocals to form an emotionally charged journey. ‘CV Winds’ dives deeper into hypnotic territory, layering fluid percussion and enveloping synths in a piece built for late-night connection. On the B-side, ‘The Vibe’ sees Shure link with Turkish pairing Drumstone for a magnetic collaboration, a heady, trippy, and earworming dive into both artists’ sonic worlds. Closing with ‘Together’, the EP’s finale brings a sense of unity and release, blending tension and release with intricate grooves to round out the journey.

Having begun his musical journey under the guidance of his father, the Egyptian jazz musician Basem Darwisch, Sam Shure has evolved into an artist renowned for his expressive and forward-thinking sonic approach. Following releases on TAU, Cercle Records, and Magnifik, ‘Best Of Me’ reaffirms Shure’s reputation as a unique voice within the modern electronic landscape, making him a perfect fit for HABITAT’s expanding vision.

Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap

After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.

SDM007 comes with four tracks of percussion-heavy, fast tribal grooves, drifting flutes, hypnotic sirens, and mystical soundscapes. Psychedelic, trance-like, in constant ascent, ritualistic, yet made for the dancefloor.

* includes download

One of clubland’s most unmistakable and loved duos, Steffi & Virginia present a new album of upfront house music, Patterns of Vibration.

Eight gracefully-driven songs stretch out from the hazy fog of the dancefloor to the sun-drenched future decades of house, offering a glimpse into the rich heritage and distinct forward momentum of the two artists.

With their first productions dating back to 2010 the pair continue on a long-lasting journey together as creators and partners. Their debut, Reasons, was quickly followed by the seminal Yours on Ostgut Ton - the blueprint for their trademark sound, embedding gorgeous vocal hooks within luxuriant, weighty club tracks.

In their own words, “a celebration of joyful moments,” Patterns of Vibration was put together over a three month period of intensive work and play. The pair immersed themselves in the daily ritual of putting down ideas at their Candy Mountain studio in the Portuguese countryside. At the same time Steffi’s 50th birthday celebrations fueled their creative fires, reconnecting with old friends and tapping into a deep love for those ecstatic moments of freedom and unity, soundtracked by house music.

In no time a huge folder of ideas amassed and they set about selecting the purest, stand-out signals with the motto, “let the positivity shine through!” It’s been a process that has gifted the two artists with energy and perspective as they continue on their unique path.

With the spirit of the fierce night streaming through on every track, this album marks a bright new chapter in the duo’s story - channeling that special potion of emotional vibrations found when music, dance, friends and lovers meet.

Thanks to countless hours behind the decks at their Berghain / Panorama Bar residencies and global touring, the album glistens with an ageless urgency and a straight-to-club core. That driving, early morning pulse is mirrored by a deft skill for conjuring arresting electronic hymns; transmitting their passion and collective years together on the road, in clubs, in the studio, and at home.

From the moody tribalism of lead single Nightflight, to the chord-led heaven of Stab Stealer, or the tracky 7 In The Morning, Steffi & Virginia’s partnership is alive with the essential throb of a movement that continues to blossom as it enters its 4th decade.

Virginia’s jubilant vocal hooks are front and centre on every track, enriched with Steffi’s precision analogue bump. Punchy and direct kick drums carry jacking snares and interwoven synth stabs. Perfectly placed basslines massage the low-end, leaving plenty of space for Virginia’s vivescent vocals.

A homogenous sonic code is woven throughout, as Virginia’s voice provides not only the soaring leading lines but also the “ornaments and tentacles” of each track, with percussive details and micro-elements melting into the grooves of every cut.

Steffi & Virginia’s house music is the stuff of folklore. Patterns of Vibration weaves a narrative through a record crate full of emotions, a forever-chorus calling out through the night, till the earthy glow of the new dawn.

Stump Valley now pop up on Dekmantel. The committed Berlin based studio outfit head into new areas after their previous work on Uzuri, Off Minor, Dopeness Galore and No 'Label (that already had them jumping around styles and influences).

The label say "Stylistic, enigmatic, and effortless. Stump Valley’s Dekmantel debut EP is a smooth melange of glossy soul, jazz, and serene house. Produced by the mysterious, and ultimately under-the-radar duo, the extended EP breezes through tropes of balearic analogue, warm Chicago sounds, yet remaining ultimately Italian.

The duo, originally from Turin, prove their skills as true alchemists, as their forge hypnotic house and tropical flare through their array of drum machines, synths, and informed artistry derived from their deep stockpile of assorted records.

Debuting they may be, but the Italian duo are no strangers to Dekmantel, having played at Dekmantel Festival, Selectors, and Lente Kabinet. Having released groove tracks across a whole spectrum of labels, Stump Valley’s reputation even precedes them. Throughout the EP, their sound echoes that of Prins Thomas, Larry Heard, and other select funk-driven Italian live producers that are making waves in the current scene. It’s a sound that’s permanently upbeat, radiant, and filled with joy.

Berlin based vocalist and Max Graef collaborator Wayne Snow collaborates on vocal opener 'Natural Race', creating a slow groove, and funk-driven tempo. The music then veers into equatorial territory, as the duos' uses of classic 707 and LinnDrum sounds evoke a sense of sunset grooves; the sound of Theo Parrish slowly winding through an Adriatic cocktail party. Further on and 'Proletarians In Space' reflects the producers' more Detroit-like influences, with oscillating machine music. 'Zoo Planet X' takes the sound further, with dubby pads, and old-school kicks and hats, that transport the Turin-based artists across the Atlantic with their out-of-time sonic aesthetic."

Two very solid Terrence Parker produced techno tracks from his various monikers - re-issued by Dekmantel. TIP!

Territroy, the Greek duo of Panagiotis Melidis (Larry Gus / DFA Records) and Stathis Kalatzis (formerly Mr. Statik), release their first album Skulls & Plants on Dekmantel's UFO label. A collection of experimental and spacious deep techno, psychedelic ambiance and compelling drums that draw you into a unique world of rhythmic sound and expect in DJ sets from Lena Willikens, Helena Hauff, and Vatican Shadow.

As starting point for their music the duo points at the AGET Heracles Cement Factory Plant in Volos, Magnesia. The factory is a metaphor that processes the land itself, ignites it in a cancerous way then dumps it into the sea and the atmosphere. It's a combination of all possible scenarios of optimism and negativity, the essence of trying to do the best for everyone, but accidentally killing everyone in the process. That contrasting duality is mirrored in Territroy. What ties them is a constant rhythmic element that is persistent and comes from growing up in Greece and absorbing the rhythmic specificities of Southern Europe and unique Mediterranean attitudes.

Originally released in 2013 this beautifully marbled limited edition 7“ sees Leipzig's longstanding underground activist Tlic explore rather frosty sonic territories, combining expertly
shaped glitched-out Electronica x IDM structures with Cold Ambient-infused atmospheres and heavy Industrial x Rhythm Industrial structures for all those who reference heavy cuts
like 'Dodeccaheedron' or 'Isoprophlex' as some of the best tracks ever written by Aphex Twin. Only the headstrong survive.

Never officially distributed before and available limited quantities only.

Limited edition of 300 copies. 33 rpm. Light blue marbled vinyl. Special die-cut polar bear
fold cover

As part of the ten-year anniversary Dekmantel presents the final record in a ten-part-EP series. Split into two parts due to its immensity, the final instalment is a re-issue of Tony Allen's 'Asiko (In A Silent Mix)' originally released in 1999 and remixes by Motor City Drum Ensemble and Ricardo Villalobos. The last record in the series sees MCDE delivering a trademark track that will send dance floors on fire worldwide.
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Part two of the EP features the Motor City Drum Ensemble remix, and the original In A Silent Mix' version from 1999, a track out of its time when released on Allen's sole record Black Voices'. A long serving Dekmantel veteran, Danilo Plessow was there from the start. After compiling the first Selector's compilation last year, MCDE turns Tony Allen's masterpiece in a jam, with added house beats, giving the funk number the edit treatment. The final mix sounds like the kind of track you would hear MCDE play in one of his sets as he's firing up the heat. The organ sounds and trumpets are left high in the mix, to create an unforgettable hook that resonates throughout, in complete Motor City style.

Highlighting the diversity of sounds that have come to represent the Dutch label and festival series, the EPs to date have encompassed a range of artists and genres, featuring label favourites, as well as whole bunch of debuting artists. The EP series kicked off in March 2018, and over the course of a year featured the likes of Gigi Masin, Lena Willikens, Burnt Friedman, Donato Dozzy, The Egyptian Lover, Palms Trax, and more.

As part of the ten-year anniversary Dekmantel presents the final record in a ten-part-EP series. Split into two parts due to its immensity, the final instalment is a re-issue of Tony Allen's 'Asiko (In A Silent Mix)' originally released in 1999 and remixes by Motor City Drum Ensemble and Ricardo Villalobos. The first part features a grandiose 29-minute Ricardo Villalobos version of the Afrobeat master's cut. A true collaboration of giants.
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Having been a regular at the festival for several years now, Villalobos delivers a remix, one of his longest to date, that only he can produce. Allowing the percussion to breathe into a monumental rhythm, Villalobos warps the vocals, restructuring the bass and drums into a rolling dub-fusion of techno that is characteristic of his remixes to date, yet still breathtaking in its execution. Afrobeat-minimalism, with dub-infused fire, and near psychedelic ambience that perfectly synchs the worlds of Tony Allen, and Ricardo Villalobos, two legends who've helped re-shape the face of music.

Highlighting the diversity of sounds that have come to represent the Dutch label and festival series, the EPs to date have encompassed a range of artists and genres, featuring label favourites, as well as whole bunch of debuting artists. The EP series kicked off in March 2018, and over the course of a year featured the likes of Gigi Masin, Lena Willikens, Burnt Friedman, Donato Dozzy, The Egyptian Lover, Palms Trax, and more.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

Tunik lands on Dekmantel with his distinctive strain of jacking drum machine electro-techno. The Barcelona-based, Argentina-born artist first emerged in 2020 with a standout EP and collaborative spot for Nicolas Lutz’s My Own Jupiter label before notching up a release with Furthur Electronix, and now his emotionally-charged sound spreads its wings once more.

A New Dawn lands somewhere between original 80s synth-pop, the noirish allure of early 00s electro and sleek modern techno, using a full spectrum of synths to draw out harmonically rich tunes that pack in the feels while holding enough mystery to keep a dancefloor enthralled. From the melancholic chimes of 'New Dawn Fades' to the electro lament of 'The Aeon', 'Electro 01's punchy, bass-warping rave energy to 'Third Eye Connection's acidic introspection, it’s an EP which cements Tunik’s highly developed expression through his array of studio tools, all strapped to finely honed club structures for maximum dancefloor impact.

Barcelona’s Tunik follows up on last year’s A New Dawn with a distinct turn to the dark side as he pays tribute to the iconic, vampiric creature of the night, Nosferatu.

The horror theme on the title track is a natural fit with the Argentinian artist’s schlocky strain of EBM-styled electro-techno, but the music is no joke. Boxy drum machine jack and a suite of darkly seductive synth lines strike the perfect note between vintage flair and modernist impact, and the macabre mood lingers over the rest of this trip through gothic club music.

Whether it’s the Twilight Zone creep around the edges of ‘Slave’, acid blood raining down on ‘W72’ or the undead getting busy with the grungy bass and dry snare hits on ‘Sorrow’, Tunik has got exactly what you need to send a shiver down the dance floor’s spine and raise the temperature in the room, all in the same heartbeat.

Zoom is Thessa Torsing's first full-length album as upsammy. Since 2017, she has developed a signature style in front of listeners eyes and ears: hers is a mesh of airy tones, tender melodies and highly technical drum patterns which wrap around the body of the song like colourful thread around a metallic spindle. Zoom, a refinement of her sound and an expansion of its ambition, is evidently electronic yet seems to float some way off beyond the glow of a screen. Zoom is upsammy's most comprehensive release to date, something she remarks is "a closer and truer look into my work right now"

Across the 11 tracks on Zoom, which has early support from Ben UFO, Lena Willikens, and Call Super, are moments that sharpen your focus then throw you off guard. On "It Drips," a chunky beat conjures the image of a stomping machine. Not so – within seconds a gentle frosting of notes begins to emerge atop the song before a lead melody yawns into view. This technique recurs on "In A Shade", where buzzy static around the margins of the track and a robust low-end are merely the sediment for the song to grow into another form altogether. Using only an Analog Rytm drum machine, Ableton, some modular kit and field recordings to achieve such a wide palette of sounds, the album reflects the excitement of its maker throughout the production process.

The title is an invocation for people to look a little closer at their surroundings and replenish their stock of wonder: "People can be consumed by really big or 'fantastical' things in life, but don't see the small things that have great emotional, artistic or even spiritual value." The packaging of the release contains reminders of the everyday – from associated imagery, a poster, text and videos, all compiled, photographed, and executed by upsammy, to a limited clear vinyl pressing as part of Dekmantel's physical release.

Following 2020’s debut album ‘Zoom’, upsammy returns to Dekmantel with a dualistic four-tracker called ‘Bend’, incorporating familiar sonic palettes and novel paths carved out in times of isolation.

Where Zoom channelled upsammy’s conceptual depth, Bend leans into artistic intuition, juxtaposing the floral and martial, propelling along her signature sound of textured electronica. Lilac chimes rise and fall along the melodic Flutter and Metallic, while the sinister creeps from Spat and Worm’s spacious cracks. All in all, Bend discloses upsammy’s versatility yet again, ever-shifting as the ambiguous modernity she continues to wander - an artist able to shift through the complexity of modernity with rare grace. Early support comes from Ben UFO, Lena Willikens, and CCL.

MCDE shares some of his most prized gems on this compilation that kicks of the limited Dekmantel selectors series. Check!
What, exactly, is a selector Dekmantel has long been determined to find out, even before the Amsterdam-based crew added an official Selectors stage to its annual summer festival in 2014. While the stage has since played host to an elite class of DJs that includes the likes of Floating Points, Mike Servito, Traxx, DJ Harvey, Ben UFO, and Donato Dozzy, to name just a few, Dekmantel came to realize that the Selectors concept needed a larger platform of its own.

As such, 2016 will see the launch of both a limited-capacity festival and compilation series, both bearing the Selectors name. The compilations will come first, with Motor City Drum Ensemble, Young Marco, and Joy Orbison at the helm of the initial three chapters. These are not mix CDs; every Selectors compilation will include a collection of hand-picked, unmixed tracks personally curated by the artist.

Admittedly, drawing a line between "selectors" and mere DJs is an all-but-impossible task—it's essentially a "you know it when you see it" proposition—but it's hard to argue that Motor City Drum Ensemble (a.k.a. Danilo Plessow) doesn't tick all of the required boxes. He's been digging for records since his teenage years, and his DJing has become the stuff of legend, thanks in no small part to his head-turning sets at the last few Dekmantel festivals.

In truth, Plessow's relationship with Dekmantel dates back to the earliest days of the Motor City Drum Ensemble project, making him a natural candidate to head up the inaugural Selectors compilation. As expected, he's thrown himself into the task; selecting a want list from his collection of 15,000 records was no easy task, but getting permission for the final tracklist was even tougher.

One song in particular, Raphael Green's "Don't Mess with the Devil," required him to personally call up a church in St. Louis, Missouri. "The guy, he's a Bishop," he says. "When the Ferguson protests were happening, for example, he was on CNN explaining his thoughts on the whole thing, so he's a known public figure, but nobody really knew that he had this amazing record that was recorded in '79 or '80. His voice is just unbelievable. It's the kind of record that when I heard it the first time, I couldn't believe that there had only been like 100 copies pressed, and that this wasn't actually big."

Motor City Drum Ensemble's record bag is full of these kinds of gems, but he has no qualms about sharing a few of his secret weapons with a wider audience. "I wanted to get some of the stuff that is really, really hard to get, and make it available for younger people," he explains. "I used to be in the same situation. Back when I was 18, I would listen to a Rainer Truby mix and he would only play these $400 Brazilian records. I was like, 'Fuck, how am I ever going to be able to afford these' I was glad when there was a reissue, and it's a bit the same with the compilation now."
"Basically," he explains, "the approach for the compilation was, 'If I walked into a record store, what kind of compilation would I buy' That's what I did."

The best of DKMNTL x PATTA on one disc. Dekmantel is happy to present the repress of the sought-after 2015 Patta Anthem The Best I Could Do (With What I Had) by Young Marco. This time backed with Tom Trago, who serves up his gloomy and exhilarating house jam 'Brutal Romance' in the TT Love Fix. And topping it off with Fatima Yamaha's timeless 'The Creature From Culture Creation' taken from the first DKMNTL x PATTA release.

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
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Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore. Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

Following celebrated compilations from Motor City Drum Ensemble and Young Marco - and with the second edition of its limited-capacity festival in Croatia right around the corner - Dekmantel's Selectors series now continues with an edition curated by Marcel Dettmann
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Although he's now known as one of the world's most celebrated techno artists, even Marcel Dettmann had to start somewhere. Long before he ever held court at Berghain (or its predecessor, Ostgut), he was just another young boy in Eastern Germany, one whose earliest encounters with capitalism involved spending every penny he could scrape together down at the local record shop. In those days, it wasn't techno that got him excited, but new wave, post-punk, industrial and EBM acts like Front 242 and Depeche Mode

It's music from my childhood,' says Dettmann. It's still relevant and still inspires me.' That inspiration can be heard across this edition of the Selectors series, as Dettmann has put together what he describes as a pre-techno compilation.' Much like the previous Selectors editions, the compilation is not a mix CD, but a collection of tracks hand picked by Dettmann from his own vinyl archives. Freshly remastered - and occasionally reworked or re-edited by Dettmann himself - the songs here are undoubtedly vintage gems, but they also represent a very personal journey into Dettmann's past.

It was a great opportunity to dig deeper into my own musical outlook,' he explains. The tracks come from a time before Marcel Dettmann became a DJ.' Simply put, the songs here are some of the building blocks upon which he's built an incredibly storied career, and now he'd like to entrust them to future generations.

Vakula starring on Dekmantel's latest. This time with some moving groovy acid-ish house!
yellow coloured vinyl!

Vakula has been a Dekmantel label member ever since the very early days. The Ukraine based producer now drops his album Cyclicality Between Procyon And Gomeisa on the label.
'This album is about cycles, repetition and interaction', says Vakula, whose Cyclicality between Procyon and Gomeisa is the third of a series of albums and reflects a dashing experimental record that evokes the endless and captivating potential of electronic music. It creates a mesmerizing journey through various music genres, exhibiting a singular sonic experience, whilst he works through a process of improvisation and refinement.
Once again the mastermind proves to be capable of creating complex, yet diverse musical pieces beyond genres and trends. The result: an audio adaptation of his fascinating mind. 'There are two parallel processes that come together in my work: me writing music and working on the sound I want to achieve, and the energy from outside that flows and transforms into thoughts, correlations, and actions.'
The track titles relate to the source of Vakula's inspiration and connect the dots between his obsession for the vastness of our universe and electronic music. ''To wonder about the universe and to dig into mythology and scientific research discovering at least some of its secrets is what keeps me endlessly motivated as a producer.''