Search:magic sound

Following up after the recent Circadian Rhythms release is Sebastian S under his Caustic 14 alias with a yummy yummy 2x12” six tracker full of speedy bleep science breakbeat and colorful jungle techno compositions that could only be made in BRUXHELL (Brussels).

The selection is a patchwork of various unreleased works from around 1993 to 1996. A silent witness of these rave-days said the following about the production process of the tracks on this new Basic Moves release:
“We were eager to share our individual sound universes with each other and see where it would take us. These compositions emerged during many sleepless nights spent watching videos of science fiction series such as Babylon 5 or Star Trek, scrutinising each episode while composing.”

ANiML comprises accomplished and storied electronic artists. Their Stratasonic label has become a respected home for their freeform musical explorations, with no genre restrictions. They often call on friends and influential pioneers to collaborate on releases, and the originals they produce are defined by improvisation, creative songwriting, and intentional collisions of different moods and grooves.

'Unioness' is a tender but crisp late-night sound. Soft, jazzy melodies drift over orchestral swells with drum breaks cascading below. Abstracted vocals and serene strings further enrich this sophisticated sound, which draws on soundtracks and instrumental soul groups.

Stoned Autopilot is an alias of long-time studio magician Martin Buttrich, who is also part of Better Lost Than Stupid and has a fulsome catalogue on many of the scene's most recognisable labels. His dub rides smooth waves with aching vocals melting into the mix, and the melodies looped, smudged, and smeared in hypnotic fashion.

The second rework comes from DJ Sneak, the hugely prolific and consistent Chicago house innovator whose famously raw, tracky sound keeps him in a class of one. His fantastic Big Bawse Re-Rub brings a rolling four-four groove, a delicate sprinkling of percussion, and a loopy rhythm that locks you in and zones you out as curious melodies unfurl up top.

Two Lisbon mainstays from contiguous generations join forces as Scam Dust for the new Paraiso record: Tiago, Lux Fragil resident, world-renowned DJ's DJ and all-round music whizz plus Shcuro, Paraiso's co-founder, scene documenter and impeccable selector & producer. Funnily enough they also live in contiguous beach towns in the outskirts of the capital, Parede and Carcavelos. That's where they zig-zagged amid home-studios and, four hands in various machines, concocted this refreshingly to-the-bone record. Like a non-local entanglement between Lisbon, Sheffield, The Hague and somewhere in the American Midwest, 'Gastric Pulse' EP opens with a saturated, modulated acid line over a tight, industrial-tinged techno beat, peppered with sonic dirt of the highest order. It sounds like music projects like Downwards and Mathematics would put out. 'Enzyme Breaks' follows suit with a comparably raw spirit, adding some mysterious atmospheric scintillation and drum variations. A certain recluse techno (is that a thing?) comes to mind (and heart), Unit Moebius style. Toms abound in 'Pepsin Drive' - always a promising sign in our book - and the playfulness continues in the cheeky bassline and the intricate clap work. Soulful stabs give the tune extra magic via the mantra-like structuring power of repetition. The final track in the record comes from Pacific North-West transplant Doc Sleep and her collaborator Elias FS step in for remix responsibilities and flip the B1 into a hypnotic, dubby - and yes, jazzy - piece complete with a dive into glitchy, sonic sculpture territories towards the end of the arrangement. Quite the brilliant take. Music still counts (and always will), after all is said and done - and nothing like two hard-working music-makers to remind us of that.

It’s with great pride that we announce this amazing album on Optimo Music from Portland-based duo Natural Magic. It was the final vinyl release that Keith McIvor aka JD Twitch put into production before his untimely departure in late September this year.

Having been a long time lover of everything krautrock, space rock, experimental and psychedelic it seems more than fitting that he leaves us this LP as his parting gift; because this sublime album is all these things wrapped up into one and much more.

The album’s opening track “Galaxy Builder”, with its driving tempo, monolithic bass and screaming guitars might give the impression we’re about to hear a Neu for the 21st Century, but no, by the 2nd track we’re already on the first of several wild detours into uncharted territories: part shoe gaze, part ethereal, part psychedelia it’s a unique piece of beautiful euphoria from start to finish. By the time we reach the end of the A-side’s closing track “Distant Bells” the whole place is in tears after hearing possibly one of the most poignant pieces of electronic music of the entire year.

The B-side takes us even deeper into this trip through the duo’s homeland in the Pacific Northwest opening with “Skyward Eye”. If the Orb had ever teamed up with Slowdive and gotten Andrew Weatherall on production this could be it. “Get It Right” is a fuzz-filled epic with heavy dub leanings and meanings...it soars high up into the beyond and prepares us for “Ride”; an unashamed space voyage in the true sense…cosmic guitars, laden with FX; before returning gently down to the rolling green hills of Earth with the closing track “Chugsby’s Theme”. Whoever Chugsby is, his vibe is organic, deeply grounded and beautiful.

In the duo’s own words:

“Natural Magic II is a west coast road trip soundtrack for the fading summer. Taking inspiration from the majesty and myths of their home in the Pacific Northwest, the seven track album is culled from the late night, dimly lit, live sessions of Mike McKinnon on keys/drums and Matthew Quiet on bass. Overdubs of guitar, synths and percussion followed. All this from the same space they throw their legendary Limited Edition parties - all-night free experimentation celebrations in their own right. The album art work is handmade flower pigments, opium poppy pollen ink and wood-scrap charcoal by their friend and collaborator Pith Cocomici. Roll the widows down, tilt the seat back and turn it up. Gas, grass or black mass... there's magic in the hills.

Guess who's back! It's Niju & Ninze!
Magic Roads is their second studio album after the legendary LPs as Wide Awake – back then still as a trio.
The journey continues, and with each track, the two tell their own story. A colorful bouquet of organic and synthetic sounds that blend seamlessly into the sound that some call Ketapop, which shaped the style of an entire downtempo generation.

In addition to the vinyl tracks, which include collaborations with friends such as Ringo Chambre and Raz Ohara, the digital package consists of an ambient mix of Moment in Time as well as remixes by Chris Schwarzwälder and RSS Disco. That's what we call "a package"!

The Drowning In Your Love EP features longtime collaborator and magnetic vocalist Shaun J. Wright (Hercules & Love Affair / Classic / Midnight Magic), whose heartfelt delivery and lyrical poise ensure the title track sticks in your head long after the needle has left the record. The trio have created a timeless club track evoking the spirit of the tripped-out sounds of golden-era west coast house — dubby FX, a hint of breaks, soulful vocals, and that unmistakable Soul Clap swing — all put together with a flair that will move any dancefloor worth it’s salt.

Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.

In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.

Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."

Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions. Label credits: Epicentre featuring Bernadette Bascom. Recorded at Kaye-Smith Studios, Seattle, Washington, August 1978"When You Were in Love With Me" and "Magic Carpet" written by Bernadette Bascom. Produced for Epicentre by Don McKinney

Hiver completes a trilogy of EPs on Gudu with ‘Blue Hell’, another transmission of space-age machine funk from a duo who are truly shaping their own soundworld.

If you’ve followed Hiver, you should know the deal by now: they’ve spent the last decade honing a sound that draws heavily from dance music history – namely the starry-eyed synthesizer funk of classic techno and electro – that drips in colour and emotion without ever feeling retrograde. ‘Blue Hell’ is their third EP for Gudu, and maybe their most accomplished yet.

In Hiver’s words, “this EP was shaped by a mix of late night club energy and the more introspective, melodic ideas we’ve been exploring in the past years. A big part of it also comes from the tension between how people connect today. This constant, hyper-connected flow of networks, media, and online exchanges and our own way of creating music, which is very physical and personal. We’re always bouncing ideas through messages and files, but the real magic still happens when we meet in the studio, face to face. That contrast between digital connection and human presence became a sort of hidden theme behind the EP.”

“With Blue Hell, our third chapter on Gudu, we wanted to capture a moment of clarity, something direct yet still drifting. In a way, this release completes the excursion we began with the first two records: three points that trace the contours of the sounds we’re drawn to. Each track feels like a fragment of that journey, grounded in rhythm but always leaning toward depth and escape.”

Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.

Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.

At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.

Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.

Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.

With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.

A further landmark release number hit as we announce our 30th (eeek!) release on home label Rezpektiva. Stepping up for this occasion we present Mystic Base aka Ziggy P, producer and label owner of the original label it was released on in '92, Boo Records out of Düsseldorf. Consisting of three original tracks with magical tendencies that stand out for any time at any place you could argue its sound is more relevant than ever before.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

Panthera is back at the Bordello with his most energy-packed release to date. Synthsizer Hits III is forged in the heat of Hi-NRG, the romance of italo and the daring synthesizer hooks of 1980s Europe. A thick rasping beat pounds above a juddering arpeggiator line before hedonistic surges ignite “Fumare”, an achingly addictive opener. Vocals are toyed with, used to increase the potency of the chosen machines and sounds. A circling chant infects “Lucifera” as a joyous melody takes hold of this modern Summer anthem, euphoric notes ushering in the dawn while speakers and strobe throb. There is a palpable power that permeates the 12”. “The Magic Touch” sends strings sailing skyward as rich percussive textures take root below. From this fertile ground, a sensational ode to the synthesizer flowers. Vocoder lyrics, pulsating rhythms and keys that are truly fantastical. “Toccata” finishes this analogue celebration. Slow burning with disco inflections, this finale soon shows its true colours. Daring counter melodies frolic, from the elegant and refined to the brash and broad, in this mirrorball inspired last dance.

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

2026 repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

With My Best Friend, CHOP — the duo of Cosmo Dance and Whodamanny — return to deliver a new chapter of their analog-driven dance language on Mirella Records.

Built around warmth, groove, and an unspoken dialogue between machines and emotion, My Best Friend reflects CHOP’s purest intentions: to explore rhythm as a living form, to make the floor breathe, and to connect people through sound. Each element feels carefully shaped yet deeply human — the pulse of friendship and creative trust translated into music.

This 7-inch release, pressed on red transparent vinyl, stands as a statement of authenticity. It’s not about spectacle or nostalgia, but about presence — a timeless moment captured in movement and frequency. CHOP invite listeners to tune into the essence of the dancefloor: where simplicity becomes depth, and truth becomes magic.

Astropolis Records, the label born from the legendary Brest festival, marks a decade of electronic devotion with a sprawling, heartfelt anniversary compilation — slightly belated, but executed with undeniable flair.
It also comes in two EPs, showcasing the many facets of the Astropolis universe: in-house artists, long-time festival collaborators, and fresh talent from France’s ever-bubbling scene. Eighteen artists guide us through a sonic journey where rave heritage, electronic dreamscapes, and collective fervor intertwine — true to the spirit of a festival that has never recognized borders



The first EP bathes in warm tones across electronica, house, g-tech, old-school rave, and melodic techno.
It opens with grace and magic via Rone, whose electronic touch conjures the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador delivers luminous melancholy, offering a gentle calm before the storm.


The unlikely pairing of Mézigue and Swooh catapults house into a g-tech vortex with the unrestrained Broken Roll To Venice, a compact fusion of groove, hybrid sounds, and playful inventiveness.
Belaria & Madben continue this alchemical thread on Into The Void, an incendiary anthem where 90s rave, EBM, and modern intensity collide in hypnotic trance.


For old-school dancefloor loyalists, KiNK finally resurrects a cult live set staple: Give Me, a bona fide banger merging breakbeat and vintage house, engineered for late-night sweat sessions.
Oniris & Benjamin Rippert revisit the melodic techno roots of the label on Sonate, demonstrating a masterful command of harmony.



This anniversary compilation underscores the label’s openness to new generations and recent sonic hybrids, while paying homage to the techno scene that shaped its early days. Much like the festival itself, it embodies the same sincerity and collective energy: a small manifesto connecting generations, aesthetics, and territories — celebrating roots without nostalgia, and the future without bowing to trends.

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

UK-based DJ and producer Wallace debuts on Phantasy Sound with an irresistible double A-side single, ‘Cravings (ft. Love Letters) / Concourse.’ Bubbling with sensuality and euphoria, both tracks reinforce Wallace’s burgeoning reputation as one of electronic music’s most impressive new voices, a crowning moment on Erol Alkan’s long-running label following a stellar run of singles for imprints including Cooking With Palms Trax, Rhythm Section, and Moxie's much-loved On Loop.

Led by a longing, inquisitive performance from vocalist and underground house music luminary, Love Letters, ‘Cravings’ builds from a simple throbbing bass line to an eruption of lyrical and musical joy. Exploring onset desire – risk, uncertainty, and ultimately, reward – Wallace’s deep and celebratory arrangement interweaves with Love Letters’ queer perspective to deliver universal satisfaction.

While ‘Cravings’ looks inward to find release, ‘Concourse’ goes for the jugular with a darker, more epic sensibility than Wallace has previously indulged. His flawless production touch seamlessly gifts magic to a widescreen techno epic that might not sound out of place on the terrace at Circoloco or else a field near early-nineties Frankfurt, repeatedly working his acid-oriented machines into a lather and conjuring cosmic drama from eerie, choral voices beneath a powerful groove.

An album like a film, a childhood like a journey.



With Rêves, Senbeï unveils the most intimate and ambitious work of his career. Known for his unique blend of electronic music, hip-hop, and Asian sounds, the beatmaker reinvents himself here in an orchestral and cinematic universe, a far cry from his previous albums.


Inspired by the great soundtracks of children's adventure films—The Goonies, The Neverending Story, Charlie and the Chocolate Factory—Rêves is a sonic immersion where childhood nostalgia meets the emotional power of an orchestra.



A unique symphonic production.



For the first time, Senbeï has called upon a 15-piece orchestra, recorded in conditions close to those of film music. Strings, wind instruments, and electronic textures echo each other to create a rich, evocative universe, filled with luminous melodies and magical tension. This album is not just a collection of tracks: it is an adventure to be listened to like reading a story or watching a film.

393AD returns to his own Full Range Motion records with 'Singularities EP'! On this EP, 393AD continues to explore the grey-area in between introspective yet driving techno, an area in which 393AD's well-received debut 'Doctrine EP' left such an impression. The Amsterdam-based artist playful use of sound-design and storytelling adaptations of live hardware jams are once more an excellent foundation for his second release, solidifying the distinctive sound of the artist on this young label. Opener 'Gravitational' pulsating beats are a strong anchor for slowly unfolding harmonic stabs and a strong centrifugal energy. Glimmering patterns unfold as an umbrella; a projectile shoots past; the aftermath of a near-collision - there's no running from this mind-gazing adventure. On the same side 'Technological' pushes on with dramatic effect as noise interlocks with serenity. A devious and mesmerizing track. The flip starts off with 'Mechanical', the final clever contribution to this EP by 393AD. Propulsive kicks and startling low-end call & responses manifest infectious hooks and rhythmic interplay. This track is as serious as it is facetious. Finalising this EP is Maasym's remix of 'Gravitational'. Building on the urgent dynamics of the original, Maasym conjures a magical field of rhythm, intertwining the original with his own energetic pulses. Culminating finally in a compelling resurgence of the original's main stab.