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For the second time, the Geneva-based duo Cyril Cyril hands the microphone to the Syndicat du Futur. Behind this small group campaigning for a better future are Jeannot and Marilou, Zoé, Marlowe and Lenaïs — the respective children of Cyril (Yeterian) and Cyril (Bondi). Two years after La Météo / Le Monde Embêtant, the crew is back. The voices have grown and changed, but the sharp perspective remains, and the adult world had better watch out.

On Le Petit Bonhomme Orange, a certain D. Trump takes a hit. Seen from a child’s point of view, the war leader and his gesticulations look less like a figure of authority than a ridiculous scarecrow ruling through fear. And when power turns grotesque, it stops being intimidating.

With Le Gros Hit, it’s time for the absurd. A song that builds itself in plain sight, stacking lines with no apparent logic and embracing its own laziness. A reminder that you can make a track with three ideas and a chorus, and sometimes that’s all it takes.

“Tako” means “octopus”, “kite”, and even “bunion” in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as “tako”. It’s a word that appears in a lot of slang and sayings. Taco is also the name of an 80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the 80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco’s central member.

Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco’s first album was released in 1983 and had a huge impact on Japan’s underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan’s underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi’s expressive lyrics. This has the effect of transforming all the tracks into a single powerful force which, in turn, spawns an “incident” which spreads like a giant ripple. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco’s second album (a 12” EP), released in 1984, features a live recording of a performance that was held at the end of 1982. Taco is a band of indeterminate members which only ever played one-off performances, but this is an album that reveals a unit whose performance was unusually musically coherent. This is an album which effectively conveys the power of Taco’s astounding and legendary live performances, as well as Harumi’s inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.

The following is a description of Taco by one of its members following one of its live performances: “Taco’s like a project where the indeterminate participants fan each other’s heightened emotions of wanting to wreak personal revenge and retribution. It’s an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.”

Nameless, March 1985

Album #1 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Luc Ferraris Presque Rien Nr. 1 und Société II zählen zu den radikalsten Werken der Avantgarde des
20. Jahrhunderts. Mit Presque Rien Nr. 1 leistete Ferrari Pionierarbeit bei der Verwendung von Umgebungsaufnahmen als vollständiges musikalisches Material – er nahm die Geräusche eines kroatischen Fischerdorfes im Morgengrauen auf. Ohne Manipulation markierte dies einen entscheidenden Wandel hin zum
klanglichen Minimalismus und beeinflusste Generationen von experimentellen Künstlern.
Im Gegensatz dazu verkörpert Société II, komponiert für Klavier, Schlagzeug und Ensemble, Ferraris politisch aufgeladene, theatralische Seite. Entstanden inmitten der sozialen Umwälzungen der späten 1960er
Jahre, inszeniert es eine feministische Allegorie, in der die Interpreten um die Vorherrschaft wetteifern und
dabei Struktur, Improvisation und Satire miteinander verbinden.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

Setting the tone for the wider project, ‘Rage Days’ thrives on sonic deviation, weaving together junglist breaks, weighty basslines, melodic elements, and vocal chants. Speaking on the track, Mix’Elle shares: “For me this track represents how amidst the chaos, community, art and music become such important comfort zones for us to lean into when the world feels a bit mad.”

Reflecting on her contribution, BRAVA said: “It’s about my experience this past winter in London. Being broke, freezing, in high rent flats and just figuring it out as you go, but still ending up at the rave, dancing to breaks and bass where everything kinda makes sense for a bit. It’s also about the people within the DIY underground scene that I’ve fallen in love with, where everyone looks out for each other because we’re all in the same boat.”

‘Rage Days’ captures the urgency and unity of underground club culture, marking a soundtrack for navigating chaos, and finding connection on the dancefloor.

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






f 06: Fear (Hey Friend) feat. PJ Morton






f 06: Fear (Hey Friend) [feat. PJ Morton]

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






f 06: Fear (Hey Friend) feat. PJ Morton






[f] 06: Fear (Hey Friend) [feat. PJ Morton]

Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

Riva Starr returns to Rekids with the ‘Shine A Light’ EP

The Snatch! Records boss follows up 2022’s appearance on the label with Mark Broom as Star B.

Italian producer and DJ Riva Starr returns to Rekids with the ‘Shine A Light’ EP, arriving 27th March 2026. It marks his solo debut for Radio Slave’s flagship label, succeeding his ‘Love Will Remain’ EP together with Mark Broom as Star B in 2022. Active for more than two decades, Starr has been a consistent force within House music, known for building infectious loops, weighty basslines, and hook-led vocals into timeless club records. His catalogue spans his own Snatch! Records alongside labels such as Hot Creations, Cajual, Crosstown Rebels, and Factory 93, with releases regularly topping digital charts.

Riva Starr’s ‘Shine A Light’ EP starts with 'Can't Stop The Feeling’, setting the tone with a bold, elastic House groove, driven by funky bass, smart filter work, and diva-style vocal stabs designed to lift the room. ‘Shine A Light (On Me)’ follows with even greater impact, pairing wall-rattling drums with belting vocals that bring gospel intensity to a hands-in-the-air anthem. ‘Tryin’’ digs deeper, keeping the pressure on with a sleazier bassline underpinning male vocal cries and smooth choral touches built for peak-time reactions. Closing things out, ‘Can’t Stop The Feeling (Beat-A-Pella)’ strips the groove back, rounding off a high-impact, emotionally charged EP of modern house craftsmanship.

A new album from Ye, the artist formerly known as Kanye West, is set to arrive on March 20.

The rapper has inked a partnership deal with the independent music company gamma. for the release of BULLY, his 12th studio album.

Reissue of a lost hit by the British composer Kevan Frost, now championed and given a brand-new Dub Mix by Mark Grusane. Up for pre-order now and due late-March on our RSS series!

Kevan Frost grew up in Jos, Nigeria where he became a self-taught musician and developed a deep understanding of rhythm and melody. In the 90's, Frost was a session musician for many studios in London, one of these was unable to pay him so they gave him a few free days in the studio and the result was "Give It Up" as he explains:

"I went in and recorded all the music in a day, and the vocals and mix on day two. This was the days of only having 24 tracks available on tape so I programmed the drums, bass and keyboard parts on C-Lab which was only available on the Atari computer and the samples I made on my Akai S-1000 sampler. Full of floppy disks I went in early on day one and printed all of this on tape. I then recorded the guitar parts. Day two was me layering the lead vocals and Backing vocal parts as quick as I could before starting to mix."

However, the track fell into obscurity with no major label backing or marketing budget. A friend of Mark Grusane’s came across it in Brooklyn at the African Record Centre and it eventually ended up in Mark's hands and from there he edited the original track to a more stripped-back dub mix and began playing it out to great effect on dancefloors.

After a bit of digging, we tracked down Kevan and a fully licensed reissue is due on Rush Hour in late March 2026, including a brand new ‘Dub Mix’ from Mark Grusane.

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

The rare and deeply funky LP "Yoga – Be An Enlightened Soul – Stay Young And Pure With Yoga"
by Osunfisan Brothers & Sisters is set to return to vinyl in an official reissue, marking the first
authorized repress of one of Nigeria’s most elusive spiritual records.
Originally released in limited circulation, Yoga occupies a unique place in many collectors grail list.
According to Mr Femi Osunfisan, the album was conceived by his senior brother and bandleader, "We
chose yoga to as a concept to channel our music, but it was not intended to practise yoga with the
music". Neither pop record nor conventional boogie LP, the album is highly sought-after for the amazing
production by the Sound master Odion Iruoje and for the heavy afro-disco workouts.
At a time when Nigerian music was dominated by Afrobeat, highlife, and disco, Osunfisan Brothers &
Sisters charted a more introspective path—using rhythm, voice, and repetition as tools for enlightenment
and personal grounding.

UK producer and DJ Huxley return’s to Rekids with the ‘Pinball Skizzard’ EP, arriving 10th April 2026.

It follows last year’s ‘MIND G%MES’ EP, which marked his debut on Radio Slave’s label and won support from artists including Enzo Siragusa, Jennifer Loveless, Carista, and Laurent Garnier. Active for over two decades, the Dumb Safari label boss has left his mark, founding the online
R Trybe community with Ramin Rezaie/BAKKIS, while boasting label credits including Aus, 20/20 Vision, and collaborator Steve Bug’s Poker Flat.

Huxley opens the ‘Pinball Skizzard’ EP with ‘Pinball’, setting the tone with a hefty House groove, anchored by cavernous bass, and brought to life by old-school vocal touches and bright sax motifs that inject warmth and energy into the mix. ‘Heaven’ follows with a buoyant rhythm, pairing glowing chords and twinkling melodic details with deep, dubby low-end pressure designed to keep bodies locked in motion. ‘Deep Down’ shifts into a slinkier back-room groove, rich in atmosphere and soulful vocal fragments that underline its timeless house feel. Closing track ‘Felix’ rounds things out with a percussive roller built around vocal snippets and subtle tribal accents, delivering a stripped-back but effective finale that fits neatly within the Rekids aesthetic.

2x12" Brown Marbled Vinyl 2026 Repress

A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness. Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.

SY3 (pronounced ‘sigh’) is a new project from LA-based Chinese-American artists Kelly Guan, Alex Ho, and Phil Cho. The trio started working on music together in 2023 after connecting over a shared love of Hong Kong New Wave cinema, Cantonese pop songs, r&b, and melody-driven dance music. Singer Kelly Guan aka Jia Pet has been independently releasing ‘bubbly’ pop music since 2022, and recently toured with the genre-bending indie artist Sasami. Multi-instrumentalists Ho (keyboards, saxophone) and Cho (guitar, bass) have collaborated frequently over the past decade, most notably on Ho’s 2021 debut album 'Move Through It' for Music From Memory.

Lead single ‘Tell Me,’ the track that initially caught the ears of MFM's Jamie Tiller and Tako, nods to the hazy downtempo explored by Chinese pop stars like Faye Wong and Zhou Xun in the ‘00s, while also recalling Japanese producer Yoshinori Sunahara’s iconic album 'Lovebeat'. Beyond musical influences, SY3’s neon-drenched pop songs draw from a cinematic language, particularly y2k-era films like Made in Hong Kong and Suzhou River, which speak to a generation of disillusioned youth in an increasingly fast-paced world. Guan’s lyrics depict characters caught in bittersweet love affairs (‘dial tone, when I’m alone, you promised we’ll be in touch') forever looking towards an escape from their current realities (‘I know the walls are high, these graceless hands are slipping’). Title track ‘梦游 Sleepwalker’ features a Cantonese spoken-word story about a sleepwalking young girl who sits alone on a balcony wondering where she might have gone the night before. The drifting ambient production loosely references a traditional Chinese folk melody, and closes out the EP with a delicate, layered saxophone solo from Ho.

Balancing intimacy with a wider emotional and visual language, SY3’s debut unfolds as a series of nocturnal pop vignettes shaped by memory, cinema, and place. Released digitally and on vinyl through Music From Memory on March 25th. Sleeve art and design by Michael Willis.

The Marseille-based label run by FaF returns with the second volume of the Electrik Pulse series. Four French producers are at work, brought together on a various artist compilation featuring a wide range of sounds.

Record 3 of the Cartulis Music 15th Anniversary compilation, marking fifteen years of independent activity across club culture, events, and releases.

Cartulis 15th Anniversary Compilation — 15 years of rhythm, risk, and reverie. Still dancing, always forward.

Welcoming prolific and essential Mexican artist Andy Martin to Animalia, with his mesmerising, mind-bending musical interpretation of the Nahual, a common & integral figure of the belief systems of ancient Indigenous peoples of the Americas, which embodies the spiritual connection between humans & animals. In some traditional stories, this connection is so strong that they are said to transform into one of them. Tierra de Nahuales refers to a region of ancient America inhabited by these mythological beings, which in this EP become part of the Animalia universe, shaped by psychedelic broken rhythms, tribal sounds, and dub influences. A release that feels both deeply personal to Andy's musical & cultural identity as well as the label's own - a telling ode to the abilities of the depth & outer worldly sense to his music - a world-building, shapeshifting & one of a kind artist who feels truly at home in the Animalia family.

Hey! Cabrera is back at Bordello. Following on from Italo Void, this time he arrives with two friends and fellow countrymen in tow: Marta Paradise, the duo of Paolo Ancona and Davide Pozzovivo. A shared passion for the analogue riches of the 1980s cements this new partnership, a passion fully captured in the bold synth‑lines and heady grooves of Go By Night. Bodies swirl in the fog of “Stasera No.” Glittering melodies float above clean beats, shifts swooping and tucking before the unmistakable vocals of Fred Ventura smoulder. The mood drops from disco to basement as “Go Ahead” takes hold. Those addictive hooks remain central, but now they’re teased by breathy samples, orchestral rinses and thick basslines.

Whistle blasts and cowbell rumbles introduce the flip. Bright and luminous, vocoder verses carry this late‑night rave straight into sunrise. Tempos fall for the close. Fragile drum patterns form a base from which machined and spoken words intertwine with bubbling 303 lines. A record that captures every moment of the night.

STARDUB VA series continues with number 10. This time we have the honor to present a 6 track EP with Dub Techno's finest musicmakers Dreist, Habben, RuMa, Ohm & Lentza, Marco Cassanelli and DIB.
From Dub With Love! Limited to 250 copies.

Following releases based in Amsterdam and Rotterdam, this one marks the "D" in Lost Trax's ARD trilogy. On SAID Principles, shaping their style to this landscape, the mysterious Lost Trax charts four hard-hitting techno tracks, imposing their demands on all those who can hear. It is up to you to now adapt.

Katz Mulk's ''All the mess'' is a collection of songs about playing and play-work, recorded between 2023-25 in Glasgow and Tokyo. Developed from performances across the UK and during a residency at Xevarion Institute in Hong Kong, with dancers, costume design by Mary Hurrell, and mobile speaker design by Chris Ball. Slithering breath, crackling synths, dented gongs, and dub loops pull songs into unexpected, unsettling patterns, like being a kid again but with more electronics.

The new sublabel from ERROR404 debuts with a Various Artists, full of raw, hypnotic and unpredictable sounds.

Tracks that refuse to be easily classified... stop searching.

Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

After more than 7 years of silence, Marvin Zeyss returns with his new vinyl EP “Piece of Me” on his hometown Nuremberg label Beatwax Records, delivering exactly the sound his fans have been missing for so long. As is often the case with him, the title reflects the personal touch that is deeply infused with emotion throughout the tracks.



From the classic house sound of the lead track “Piece of Me,” to the driving percussion and bassline in “Let Loose,” the captivating atmospheres of “Flames,” and the deep vibes of “Only You,” this release offers something for every dancefloor and every listener. With this versatility as his trademark, Marvin Zeyss has already released and sold out more than 10 records — so don’t hesitate, no repress.



>>> comes in 4c Sleeves

Rocksteady Disco returns with more heat for the heads, this time from Glenn Echo & Daniel Meinecke delivering a stunning 7" that bridges various eras of dancefloor magic. Their take on Sylvester and Patrick Cowley's 'I Need Somebody To Love Tonight' is pure cosmic seduction with New Orleans vocalist Mark-Anthony Thomas channelling Sylvester's spirit while Meinecke's synth work and Glenn's rich production elevate the classic into a shimmering modern anthem. Flip it and Lucky 7s takes a left turn into dub-funk psychedelia with chunky drums, low-slung bass, wild time signatures and futuristic vocoder texture. Red hot so handle with care.

2026 Repress

A Detroit compilation compiled by Delano Smith (Mixmode) and Rick Wilhite (Vibes New & Rare Music) Vibes and Visions.

Italian jazz trio Collettivo Immaginario announces the release of their second full-length album, 'Oltreoceano'.
Known for their slick sound and energetic live performances, their style is firmly rooted in the jazz tradition of collective improvisation, through which they have developed an agile, kaleidoscopic sound. The trio’s unique fusion of funk, jazz, and 70's electronica continues in the trio’s latest release, forging connections across oceans through the universal language of music.

Consisting of founder Tommaso Cappellato on drums and percussion, Nicolò Masetto on electric bass, and Alberto Lincetto on rhodes, piano, and synths, Collettivo Immaginario have become rising stars in the Italian festival scene, from the streets of their hometown in Italy to the diverse audiences in Los Angeles, London and Milan.
Subtly paying homage to genre-bending giants like Azymuth, Lonnie Liston Smith, Herbie Hancock, and Hermeto Pascoal—alongside Italian film music legends Piero Piccioni and Piero Umiliani—their sound moves effortlessly between the heat of the club and the cinematic allure of evocative film scores, infused with touches of spiritual jazz.

This year marks 10 year of Madback Records and we've invited some of our favorite artists to the roster.
Both part 1 & 2 will be available as picture disks.
Don't miss out on these collector items!

Every journey has it's final beat.
This vinyl marks the last NTFO release - a record made to move bodies
and stay in collections long after the needle lifts.
No reissues! No repress!

Le Nomad’s new label and party series, 99 Percent Nice, is finally out in the physical world, following six digital releases since the label’s launch in October 2025.

Marking the first vinyl release, 99PN-001, each side brings a different spice—strange, bold, but always nice. This split EP features two emotionally opposing tracks from Le Nomad himself: deep, forward-pushing, and hypnotic. They’re joined by a driving deep-tech cut from Brazilian-born, New York–based artist Fi-Lo, and French/Valencian artist Jamaimoi’s cheeky electro tool, guaranteed to spark reactions on the floor.

The Golden Gate Quartett VA5 marks the fifth vinyl Various Artists release on Golden Gate Club Records, continuing the label’s tradition of carefully curated club music with character and depth.

This new chapter brings together a sharp selection of artists - SaPu, Tripmastaz, Cesare vs Disorder, and the trio Alex New, Gruman & Zlene - each contributing one track and guiding listeners through hypnotic rhythms, subtle textures, and a distinct raw energy.

While each contribution carries a clear individual signature, the tracks share a cohesive spirit, balancing low-end weight, atmosphere, groove, and punch, all while maintaining a refined sense of swing.

Golden Gate Quartett VA5 stands as both a statement and a celebration, showcasing diversity within a unified sound and reaffirming Golden Gate Club’s commitment to quality, timeless club music crafted with dedication for the dancefloor.

Following an exclusive, instantly sold-out preview during ADE 2025, Shades marks the highly anticipated second release from Life Cycle. The official release is finally here, featuring two tracks that perfectly encapsulate the vision Life Cycle first introduced with its debut release, ‘Magic Happens’, a true musical journey without boundaries. With Shades on Side A and Love Touch on Side B, the record delivers two distinct sonic vibes, carefully crafted by the label’s founder and the producer behind the release, Fabrizio Fattore.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

Anywhere, Anyway captures a selection of club tools that Makèz and their close circle have tested, refined and played across dance floors worldwide. Each track carries that familiar equilibrium the duo keeps guard over, a steady pull between raw club energy and moments meant for intimate listening.

Much like their recent album on No Art, the EP took shape while traveling, moving from session to session with artists from different musical worlds. Those encounters left their marks, subtle shifts in rhythm, harmony and texture, shaping the edges of the EP. The Amsterdam duo keeps seeking creative impulses from unexpected angles, letting ideas find them wherever they are. Anywhere, anyway.

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

DJ Support: Kerri Chandler, Louie Vega, Dam Swindle, Jovonn, Brian Tappert, Grant Nelson, Mark Farina, DJ Mes, Cinthie, Floorplan, Kevin Yost, Fouk, Julius Papp, T. Markakis and more..

Raffaele Ciavolino is an Italian DJ, producer, and professional engineer who has carved out a significant niche in the global house music scene. His work is characterized by a sophisticated blend of Jazzy, Funky, and Deep House, often incorporating the high-energy "Jackin" house style that has earned him consistent recognition on major genre labels. “Come In To The Jazz”, the title of his new Album, gives you an idea of what to expect - jazzy melodies and sophisticated house beats. He does so with a modern viewpoint but also plenty of reverence for the glory days of jazzy house. Trumpets and guitars feature here and embellish the drums with quality, meaningful layers of melody and mood. As he merges the past and present, this richly textured work shines with improvisation and timeless deep house warmth.

2026 Repress

Glaskin is the alias of two brothers, Jonathan and Ferdinand, based in Munich. The pair have emerged as key figures in the citys electronic music scene as longtime residents of the renowned Blitz Club, standing out a homegrown talents amongst its vibrant electronic landscape. Bringing a unique, forward-thinking techno style, as evidenced by their contributions to Mutual Rytms Federation Of Rytm II and III compilations in previous years, they now mark a new chapter and open 2025 in style with their debut 12 on the label, Inertia Of Motion. Each cut on the EP has been handcrafted with analogue gear, reflecting their distinctive artistic and sonic vision. The release is a direct outcome of the creative process behind their live set, which has become an integral part of the duos identity and shows a natural evolution of their singular sound.

Hush Up kicks things off with deep, rubbery and rolling techno rhythms. The drums are stripped back and laced with pulsing synth patterns and spoken word snippets that add a freaky edge. Double Tap ups the anti with classic, pumping deep techno with smart filters adding movement to the track as urgent leads hurry onwards. Inertia bring a more anxious atmosphere with tightly coiled drums and perc and eerie bell sounds ring out over the fat, twisted bassline. The brilliant Tank brings mind-melting loopy techno with dubby chords and textured leads warming their way between the beats to great effect, while Motion is suspenseful techno that locks you into a high speed groove peppered with thumping hits and kicks. Last of all, digital bonus Blushed Blue explores a moody, minimal, late night techno sound that is warm, stylish and hypnotic to close the show

Erleben Sie mit "Opus" die faszinierende Welt des Komponisten und Pianisten Ryuichi Sakamoto. Das Album wurde noch von ihm selbst - er starb im März 2023 - zusammengestellt. Diese Anthologie umfasst Jahrzehnte seiner wegweisenden Arbeit und vereint ikonische Filmscores, Klassiker des Yellow Magic Orchestra sowie zutiefst persönliche Kompositionen, die Sakamotos unverwechselbare musikalische Stimme widerspiegeln. Zum Programm gehören u. a. Musik zu Merry Christmas Mr. Lawrence, Andata und Aqua, ergänzt durch bislang unveröffentlichte Werke wie for J\u00F3hann (eine Hommage an den isländischen Komponisten J\u00F3hann J\u00F3hannsson), BB (dem Filmregisseur Bernardo Bertolucci gewidmet) und 20180219 (mit präpariertem Klavier). "Opus" ist mehr als eine Retrospektive - es ist eine bleibende Hommage an einen der einflussreichsten Komponisten unserer Zeit.
Das Album erscheint in einer 2CD-Version und einem 4LP Boxset:
Präsentiert in einem luxuriösen Digipak, gefertigt aus hochwertigem schwarzem Karton mit schwarzer Folienprägung und silberfarbenem Text, enthält die CD-Edition ausdrucksstarke Schwarz-Weiß-Fotografien, die Sakamoto während der Aufführung von "Opus" zeigen. Ein aufwendiges Booklet gewährt, neben Liner Notes und Credits, tiefere Einblicke in die Musik sowie in die letzten Reflexionen des Künstlers.
Gepresst für 45 RPM auf vier 180g Vinylplatten für außergewöhnliche Klangtreue, ist jede LP in einer eigenen Hülle mit passenden schwarzen Papierinnenhüllen untergebracht. Das Set wird in einem handgefertigten, strukturierten Schuber mit eleganten schwarzen Foliendetails präsentiert und enthält zudem ein Sammler Booklet mit Werknotizen und Credits.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (100 on Pink Marbled vinyl). New life and an expanded treatment for the magical Free Disco - You Are My Sculpture with the Original 2010 Heterosexual Mix + the Zion Heat Version (an obscure raw unreleased demo from that period that will light up all the dancefloors on the planet) + 2 special Balearic Remixes by label boss Manu Archeo.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (100 on Pink Marbled vinyl). New life and an expanded treatment for the magical Free Disco - You Are My Sculpture with the Original 2010 Heterosexual Mix + the Zion Heat Version (an obscure raw unreleased demo from that period that will light up all the dancefloors on the planet) + 2 special Balearic Remixes by label boss Manu Archeo.

Beat Machine Records is proud to drop the sixteenth chapter of its iconic Swinging Flavors series, starring Newcastle’s own Nectax — a breakbeat alchemist pushing jungle and D&B into jagged, unpredictable territory — backed with a remix from forward-thinking bass manipulator Fracture.

Cool Runnings is exactly that: a hypnotic, mid-nineties-tinged jungle cut stripped back and dubbed out, but sharpened with modern production techniques that give every snare and sub-bass a punchy, alive quality. Razor-sharp breaks collide with rolling basslines, weaving a track that’s at once nostalgic and fully of-the-moment.

The B-side flips the energy with Fracture’s remix, injecting fractured percussion, jagged fills, and high-octane bass tweaks. It’s a modern take that preserves the original’s laidback groove while kicking it into full-blown club chaos. Together, the two tracks form a high-voltage 7” that bridges classic jungle aesthetics with contemporary sonic experimentation. “Cool Runnings is my take on a laidback mid-nineties tipped Jungle track. Stripped back, dubbed out, but with a subtle focus on modern production techniques to tie it all together,” says the artist.

Following recent Swinging Flavors contributors like Ac1d Vicious, DJ Sofa, and Ornette Hawkins, Nectax marks the next evolution for the series: tense, textured, and unafraid to push the floor into new territory.
The release continues Beat Machine Records’ mission to highlight forward-thinking club music rooted in underground culture, with a sharp focus on physical formats and hybrid rhythms.

The Parade imprint returns for its seventh outing, keeping the mystery alive with a four-track heater from a nameless contributor. The Neo Piano EP is a masterclass in dancefloor nostalgia, expertly blending the euphoria of the early 90s with modern, punchy production.

On the A-side, "Everyday" sets the tone with soaring chords and a breakbeat foundation that feels both fresh and familiar. It’s followed by "Angelite," a shimmering roller that leans into the lighter side of rave, balancing celestial pads with a driving rhythm section.

Flip the wax for "Somebody 2 Love," a high-energy edit that reconstructs a classic vocal into a peak-time breaks anthem. Closing out the record is "Da sweetest Ting," a bass-heavy, old-school leaning cut that lives up to its name with infectious hooks and a soulful finish.

Pure dancefloor functionalism with a sentimental heart—strictly for the heads.



>>> comes in different marbled colored 12 “ Vinyl and ONLY on Vinyl <<<

Primordial Mind forms the mysteries and intensity of inner life into eight mandalic instrumentals where Mas Aya and Khôra, artists who share 15 years of music making, orchestrate an inspired, prismatic palette of percussive and melodic sources. Each composition presented stages a vigorous meshwork of colours and textures, contrasting riveting polyrhythms with towering arrangements for flutes, synths, and processed acoustic instruments. Tendencies which the artists trace in their solo practices are amplified, blended, and refracted sublimely in unison, serving as energetic portals to the collective awareness.

Combining trans-ethnic scaling alongside a heady brew of rhythmic influences and advanced electronic processing, the recordings on this album operate with a tactility that vaults between free jazz, dub, raga, ambient, and ritual music. Assimilated powers of primal drum patterning and psychoactive, ceremonial melodies, invoke fourth world adjacencies with the work of Don Cherry, Jon Hassell, Popol Vuh et al. There is an alchemical, Buddhist/Taoist/Hindu inflection that guides the record’s narrative, formed through dialogue between the artists over lifelong shared interest in spiritual modalities generally and the tantric approaches of the global east in particular. The album title is derived from an unexcelled esoteric work known as the Kalachakra (Wheel of Time)Tantra and its associated commentary the Ornament of Stainless Light which detail forms of inner and outer transubstantiation within its complex cosmology and metaphysiology.

Mas Aya is the moniker of Brandon Miguel Valdivia, acclaimed Nicaraguan-Canadian composer, producer, and musician whose electronic and jazz inspired works creatively interlace Colombian, Cuban, and a wide array of traditional music. Khôra is the name of the occult entity that uses multi-instrumentalist, producer, and writer Matthew Ramolo to pronounce itself. Returning to Marionette following 2024's monumental Gestures of Perception, Primordial Mind reinforces the rigorous and magical approach to creation which defines Khôra’s two decades of sonic output. Brandon and Matthew met back in 2011 and the pair toured around eastern Europe with Toronto band Picastro in 2013, also performing as a duo with Brandon contributing drums to Khôra's opening sets. After a short spate composing and playing in the ensemble Bespoken together, they continued to discover shared inspiration in psych/art rock, jazz, experimental and electronic music, providing a fertile soil for friendship and collaboration resulting in their collaged, lo-fi album Tangled Roots in 2017. Mythic and talismanic, the duo's Marionette debut weaves a luminous tapestry of organic pulses, offering itself as a support for resonant meditation and a motor for lucid action and intuition.

Brandon Miguel Valdivia: Percussion, Flutes, Log Drum, Korg Lambda, Angklung, Tambor Alegre, Udu
Matthew Ramolo: Modular Synth, Archival Samples, Angklung, Guitar, Duduk, Bass, Percussion, Arrangements and Mix

Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you.

By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn’t stop there. He has continued recording fabulous albums over the following decades, right up to the present day.

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs.

The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle’s compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel of tracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’

First vinyl reissue in over 50 years!

Back on PANORAMA Records, we turn to a beautiful slice of under-the-radar Jamaican reggae with Horace Martin – “Me Rule.”

Born in Kingston, Jamaica, Horace Martin was just 20 years old when he stepped into Channel One Studio to record the track in 1974. At the time he was building his name locally, performing in clubs and talent shows around the city while cutting sides in Kingston’s vibrant studio scene. “Me Rule” captures that moment perfectly — youthful confidence over a deep, steady rhythm.

This record earned its place among the deepest collectors: Proper rootsy dancefloor reggae that feels just as good today as it did when it first came out of Kingston.

On the flip, things open up with a dubbed-out version of the rhythm titled “Rule,” credited to Prince Huntly. Stripped back, the dub extends the track — echo, percussion, and bass doing the work.

As always, PANORAMA Records continues its search for overlooked gems from across the globe — records with history, character, and real musical weight. Carefully remastered and brought back on 7inch, PAN013 is another example of these records finding their way back to the turntable.

This album plays like an invitation rather than a record - a slow boarding pass to an imagined retreat somewhere beyond gravity. Analogue synths shimmer like gold, bubbling rhythms drift in gentle orbits, and playful melodies sketch out distant galaxies with an easy, unforced charm. There's a strong lineage here, with the music echoing classic library and soundtrack recordings cherished by deep diggers, yet it never feels nostalgic for its own sake. The grooves are light but nourishing - 'Uranium Jungle' has a touch of Luke Vibert's frisky funk about it, while 'Martian Sunset' is interstellar bossa nova with a light dusting of 70s analogue magic to boot - designed as much for sofa-bound drifting as for attentive listening. Musicianship is front and centre throughout, with smart, accessible compositions that reward repeat visits. A fully realised concept - sign us up for a stay.

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

"Listening back now, I hear an artist still figuring things out, but with a clear instinct for where I wanted to go. It was a period defined by freedom - no rules, no expectations." - Hans-Peter Lindstrøm

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

Das Remix Paket für Charles Petersohn’s Children Of Zu Zu EP glänzt durch seine Vielfalt zwischen jazzy Broken Beats und Afro/Deep House, mit Re-Works von Mary Olivetti, Moodorama, als420, Viktor Marek, The Greater Manchester Housing Authority und Charles Petersohn selbst.

“Der gemeinsame Wunsch, dass die Tracks der EP an die Idee anknüpfen sollen, dass ein Remix ein eigenes Kunstwerk sein kann, ist voll aufgegangen. Alle Mixe haben eine persönliche Handschrift, nutzen die Originals als Material, mit dem nach Herzenslust gespielt wurde. Ich bin sehr glücklich!” Charles Petersohn

Format: Vinyl 12“ Full Cover mit schwarzer Innenhülle und rundem Sticker

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources - fingerpicked guitar, plaintive banjo, muted accordion tones - subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album’s title.

Tracks such as “Pattern For a Pillow” and “Amidst Things Uncontrolled” articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity - fluttering guitar lines, reedy accordion tones - briefly break the surface before being absorbed back into the field.

Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia - a reminder that electronic music’s most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

A Chicago legend who paved way in the underground with his Mr. Peabody record shop, the one and only, Mr. Mark Grusane steps up to L.I.E.S. with his "Angry Birds" lp. On this six tracker Grusane locks in and demonstrates an important facet of the Chicago sound that is often overlooked with a nod to the infamous "Reactor" sound pioneered by DJ RUSH. A rare style mostly shunned by jocks (and producers) on the modern floor, this record is full of straight up circle pit rx-7 programmed madness, chaos of the highest order...This is for the ones who know, the ones who have been obsessed, and the ones who need to know...this record sets it all off. Full on referee whistle chippin, neck snappers for those who dare to step into the real jackin zone. Hi octane, full swerve, blowing through red lights all nite long!

The eighth release on the BINÄR-Label is an EP consisting of an opening, two peak time and a closing track by Mary Yuzovskaya. The focal point was on the storytelling which includes a deep sound over dance floor oriented cuts ending with a warm hug. The tracks are mastered by Ricardo Esposito.

Kerrie makes a welcome return to Sync 24's CE camp, with "Waves of Reverie PT1" dropping in March on Cultivated Electronics. It follows her two part "We Continue" vinyl 12"s, on sister-label Cultivated Electronics Ltd back in 2021. Irish-born, Manchester-based Kerrie is a multidisciplinary artist and resident DJ at Tresor Berlin. She performs live sets, produces music, DJs and runs her own label, Dark Machine Funk, as well as an extensive discography on the likes of Tresor, Blueprint Records, Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism. On her new EP, "Waves of Reverie PT1" Kerrie once again channels a distinctive electro aesthetic rooted in acid and electro traditions but filtered through her own raw, industrial-leaning production style. A staple for fans of analogue hardware-driven electro and forward-thinking electronic music.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties

Swedish artists pbeatgirl and Joakim Åhlund & Jockum Nordström feature on one track each
Axel Boman has brought playful charm to the underground for nearly two decades. His colourful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. The Studio Barnhus co-founder is an artist who can make you laugh and cry at the same time, as continually shown across more than 20 EPs and four full-length albums on a tasteful array of labels. He strides into 2026 with a first EP for Aus that embodies everything that makes him easy to love and hard to pin down.

First up is 'Night Blooming' feat pbeatgirl - a provocative figure in Sweden's post-pop underground. The sensual late-night lullaby has soft drums and even softer spoken words whispered in your ear. Add in the dreamy synths, and you have perfect house hypnosis. 'Someone Stop Me' slows the tempo but ups the texture with raw, tumbling drum loops, incidental guitar licks and sustained pads that help you zone out and gaze into the distance on a summer's afternoon.

'Svalor Radiosignal (Axel's Dub)' features Joakim Åhlund, who is currently on tour of Australia with his band Les Big Byrd, and is also a guitarist and lead singer in the Caesars band he founded, as well as being a prolific producer. World-renowned multi-disciplinary artist Jockum Nordström works across painting, sculpture and collage and also features. There's a signature Boman innocence and charming naivety to the melodies here. They leave wispy, painterly trails above the smooth, dubby groove and fill you with warmth and comfort. Closer 'Spooky' journeys later into the night with a more rickety, edgy mood, but beautiful, shape-shifting synths are like a tender hand guiding you into darkness.

This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.

Copenhagen-based DJ and producer Anastasia Kristensen presents her debut album Bestiarium Sombre, a vivid and cinematic techno work shaped by UK bleep, jungle and dubbed IDM influences. Known for headlining major clubs and festivals worldwide and for releases on Houndstooth, Turbo and Arcola, she now delivers a cohesive long-form statement on Intercept, home to artists such as Tsepo, Coloray, DJ Aya and Ineffekt. The album follows an anthropomorphic concept where each track embodies an animal, creating a distinctive narrative world with strong visual identity. This vinyl edition arrives as a limited transparent yellow marbled pressing housed in full-colour artwork. Designed for both peak-time DJs and collectors, it combines dancefloor impact with strong shelf presence.

"Wired" ist ein harter Neustart für Basement. Es markiert das erste Album der britischen Band seit acht Jahren, eine Wiedervereinigung mit ihrem ursprünglichen Label Run For Cover Records und eine Rückkehr zu jener ungebändigten Leidenschaft und kreativen Intuition, die schon immer ihr bestes Material ausgezeichnet hat. Seit ihrer Gründung im Jahr 2009 besteht Basement aus denselben fünf Freunden - Sänger Andrew Fisher, den Gitarristen Alex Henery und Ronan Crix, Bassist Duncan Stewart und Schlagzeuger James Fisher - und derselben alchemischen Verbundenheit. Das Einzige, was sich in den letzten Jahren verändert hat, ist ihr erneuertes Gefühl von Zielstrebigkeit. Und das macht ihr neues Album deutlich hörbar. "Wired" ist das dynamischste, mutigste und inspirierteste Werk, das Basement je geschaffen haben, und bewahrt zugleich die zeitlosen Grundlagen ihres einzigartigen Sounds: grollende Gitarren, mitreißende Refrains und eindringliche emotionale Sprache. Basement sind zurück und laufen auf allen Zylindern, aber sie haben kein Interesse daran, alte Erfolge zu wiederholen. Die gesamte Band war entschlossen, dass "Wired" ihr bisher klarstes künstlerisches Statement werden musste. Der Titelsong ist das drängendste Stück ihrer Karriere - ein sicherer Live-Favorit, getragen von stechenden Gitarren, einem wuchtigen Schlagzeug und einem himmelhohen Hook, bei dem Fishers Stimme in Bestform ist. "Broken By Design" zeigt den gegenteiligen Charakter: düster, zart, bassgeführt, aber dennoch typisch Basement in seiner sofortigen Eingängigkeit und stimmungsvollen Atmosphäre. Nichts auf Wired klingt stagnierend, kein Teil wirkt unausgereift. Die Band ließ sich von einer Vielzahl abenteuerlustiger Vorbilder inspirieren (R.E.M., Interpol, Smashing Pumpkins, um nur einige zu nennen), ohne jemals wie eine dieser Bands zu klingen - und auch nicht wie eine Kopie ihrer selbst. Der Albumtitel fasst all das in einem einzigen Wort zusammen. Die texturalen Konnotationen von "Wired" - metallisch, scharf, zackig - spiegeln die stählernen Klangwelten des Albums wider. Auf konzeptioneller Ebene spricht der Titel für die unerschütterliche Zähigkeit der Band: eine analoge Band, die in einer immer digitaleren Welt erfolgreich bleibt, ohne sich auf nostalgische Bequemlichkeit zu verlassen. Fünf Freunde, die mehrere Trennungen und Neuanfänge überstanden haben und dabei als Menschen und musikalische Einheit gewachsen sind. Basement müssen ihr Schicksal akzeptieren: Sie sind einfach dafür gemacht.

"Wired" ist ein harter Neustart für Basement. Es markiert das erste Album der britischen Band seit acht Jahren, eine Wiedervereinigung mit ihrem ursprünglichen Label Run For Cover Records und eine Rückkehr zu jener ungebändigten Leidenschaft und kreativen Intuition, die schon immer ihr bestes Material ausgezeichnet hat. Seit ihrer Gründung im Jahr 2009 besteht Basement aus denselben fünf Freunden - Sänger Andrew Fisher, den Gitarristen Alex Henery und Ronan Crix, Bassist Duncan Stewart und Schlagzeuger James Fisher - und derselben alchemischen Verbundenheit. Das Einzige, was sich in den letzten Jahren verändert hat, ist ihr erneuertes Gefühl von Zielstrebigkeit. Und das macht ihr neues Album deutlich hörbar. "Wired" ist das dynamischste, mutigste und inspirierteste Werk, das Basement je geschaffen haben, und bewahrt zugleich die zeitlosen Grundlagen ihres einzigartigen Sounds: grollende Gitarren, mitreißende Refrains und eindringliche emotionale Sprache. Basement sind zurück und laufen auf allen Zylindern, aber sie haben kein Interesse daran, alte Erfolge zu wiederholen. Die gesamte Band war entschlossen, dass "Wired" ihr bisher klarstes künstlerisches Statement werden musste. Der Titelsong ist das drängendste Stück ihrer Karriere - ein sicherer Live-Favorit, getragen von stechenden Gitarren, einem wuchtigen Schlagzeug und einem himmelhohen Hook, bei dem Fishers Stimme in Bestform ist. "Broken By Design" zeigt den gegenteiligen Charakter: düster, zart, bassgeführt, aber dennoch typisch Basement in seiner sofortigen Eingängigkeit und stimmungsvollen Atmosphäre. Nichts auf Wired klingt stagnierend, kein Teil wirkt unausgereift. Die Band ließ sich von einer Vielzahl abenteuerlustiger Vorbilder inspirieren (R.E.M., Interpol, Smashing Pumpkins, um nur einige zu nennen), ohne jemals wie eine dieser Bands zu klingen - und auch nicht wie eine Kopie ihrer selbst. Der Albumtitel fasst all das in einem einzigen Wort zusammen. Die texturalen Konnotationen von "Wired" - metallisch, scharf, zackig - spiegeln die stählernen Klangwelten des Albums wider. Auf konzeptioneller Ebene spricht der Titel für die unerschütterliche Zähigkeit der Band: eine analoge Band, die in einer immer digitaleren Welt erfolgreich bleibt, ohne sich auf nostalgische Bequemlichkeit zu verlassen. Fünf Freunde, die mehrere Trennungen und Neuanfänge überstanden haben und dabei als Menschen und musikalische Einheit gewachsen sind. Basement müssen ihr Schicksal akzeptieren: Sie sind einfach dafür gemacht.

"Wired" ist ein harter Neustart für Basement. Es markiert das erste Album der britischen Band seit acht Jahren, eine Wiedervereinigung mit ihrem ursprünglichen Label Run For Cover Records und eine Rückkehr zu jener ungebändigten Leidenschaft und kreativen Intuition, die schon immer ihr bestes Material ausgezeichnet hat. Seit ihrer Gründung im Jahr 2009 besteht Basement aus denselben fünf Freunden - Sänger Andrew Fisher, den Gitarristen Alex Henery und Ronan Crix, Bassist Duncan Stewart und Schlagzeuger James Fisher - und derselben alchemischen Verbundenheit. Das Einzige, was sich in den letzten Jahren verändert hat, ist ihr erneuertes Gefühl von Zielstrebigkeit. Und das macht ihr neues Album deutlich hörbar. "Wired" ist das dynamischste, mutigste und inspirierteste Werk, das Basement je geschaffen haben, und bewahrt zugleich die zeitlosen Grundlagen ihres einzigartigen Sounds: grollende Gitarren, mitreißende Refrains und eindringliche emotionale Sprache. Basement sind zurück und laufen auf allen Zylindern, aber sie haben kein Interesse daran, alte Erfolge zu wiederholen. Die gesamte Band war entschlossen, dass "Wired" ihr bisher klarstes künstlerisches Statement werden musste. Der Titelsong ist das drängendste Stück ihrer Karriere - ein sicherer Live-Favorit, getragen von stechenden Gitarren, einem wuchtigen Schlagzeug und einem himmelhohen Hook, bei dem Fishers Stimme in Bestform ist. "Broken By Design" zeigt den gegenteiligen Charakter: düster, zart, bassgeführt, aber dennoch typisch Basement in seiner sofortigen Eingängigkeit und stimmungsvollen Atmosphäre. Nichts auf Wired klingt stagnierend, kein Teil wirkt unausgereift. Die Band ließ sich von einer Vielzahl abenteuerlustiger Vorbilder inspirieren (R.E.M., Interpol, Smashing Pumpkins, um nur einige zu nennen), ohne jemals wie eine dieser Bands zu klingen - und auch nicht wie eine Kopie ihrer selbst. Der Albumtitel fasst all das in einem einzigen Wort zusammen. Die texturalen Konnotationen von "Wired" - metallisch, scharf, zackig - spiegeln die stählernen Klangwelten des Albums wider. Auf konzeptioneller Ebene spricht der Titel für die unerschütterliche Zähigkeit der Band: eine analoge Band, die in einer immer digitaleren Welt erfolgreich bleibt, ohne sich auf nostalgische Bequemlichkeit zu verlassen. Fünf Freunde, die mehrere Trennungen und Neuanfänge überstanden haben und dabei als Menschen und musikalische Einheit gewachsen sind. Basement müssen ihr Schicksal akzeptieren: Sie sind einfach dafür gemacht.

Still Music are proud to present the reissue of “A Message For The DJ” by one of Detroit’s finest, Delano Smith featuring the distinct vocals of Diamondancer. Featuring the now legendary remix by Jimpster, that has constantly been played since it’s initial release in 2005 by DJ’s across all scenes within the House spectrum.

Original copies of this Deep House classic are hard to come by on the second-hand market, regularly changing hands for close to £70, if you’re lucky enough to find one! Here’s your chance to get one over on those pesky Discogs sharks. Don’t delay!

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

Die chinesisch-amerikanische Band Bear kehrt 2026 mit ihrem dritten Album ,Dim Sum & Then Some" zurück, das im Mai 2026 beim britischen Kultlabel Moshi Moshi erscheint. ,Dim Sum & Then Some entstand am Tag nach der Fertigstellung unseres Albums Wah!!! aus dem Jahr 2024. Wir hatten viel Freude und waren noch immer sehr inspiriert. Das Album beschäftigt sich mit Themen, die uns am Herzen liegen - Essen, kleine Freuden, unbeschwerter Spaß, China, Liebe, Hymnen und Märchen. Es ist eine Collage unseres Lebens, destilliert zu Positivität und Unbeschwertheit." Sie werden oft so beschrieben, als hätten The Flaming Lips, Dusty Springfield und The Beach Boys ein Kind mit Care Bear gezeugt. Das Album ist voller Humor, Groove, Skurrilität und Niedlichkeit, mit melodisch reichhaltiger Instrumentierung, einem Hauch von Psychedelia, einer Prise Funk und vielen Texten darüber, sich den Bauch mit Essen zu füllen.

King Tehuero features four cuts, including two dub versions on the B-side by Don Fe, who also mixed and mastered the entire record.

The record opens with the Guitar Version. Guitar as a lead in sound system culture is far from the norm, giving the track a distinctive edge shaped by Andalusian tones and echoes of ancient Iberian lore.

The remaining cuts strip the guitar away, shifting the focus back to rhythm and low end. On the B-side, both dub versions explore deep, dark territory, with the second pushing further into bass-heavy, dubwise pressure.

[a] a1. King Tehuero [Guitar Version feat. Martincore]

[c] b1. King Tehuero [Don Fe Dub]
[d] b2. King Tehuero [Don Fe Dubwise Cut]

With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.

About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).

About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.

About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.

Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records

Aquasonic Vol.1 marks a new chapter for Afalinas, presenting a carefully selected vinyl compilation featuring Ukrainian producer iO (Mulen), Berlin based Tro, Afalinas founder Olekhar, and Chilean artist Existencia Pasajera. Each track reflects a distinct geographical and emotional perspective, united by a shared focus on depth, groove and immersive sound design. From refined deep and juicy tech house and subtle techno structures to psychedelic textures and spacious rhythms, Aquasonic Vol.1 unfolds as a cohesive listening experience shaped by four individual voices.

Türkisfarbenes Vinyl, Gatefold, inkl. Insert. Willy Astors Humor ist seit Jahrzehnten ein Markenzeichen: verspielt, sprachverliebt und voller Leichtigkeit und hat damit seit Dekaden ein Alleinstellungsmerkmal. Doch jenseits seiner Wortakrobatik ist Astor stets auch ein ernstzunehmender Musiker und Gitarrist mit ausgeprägtem Sinn für harmonische Weite. Was er nun gemeinsam mit seinen langjährigen Weggefährten Roberto di Gioia und Ferdi Kirner auf seinem Werk "The Sound Of Islands Vol. VII" vorlegt, überrascht selbst versierte Kenner seiner Musik: ein Album von bemerkenswerter Ruhe und Klarheit. "Sound Of Islands Vol. VII" ist ein instrumentaler Hörgenuss. Das neue Werk holt einen perfekt runter, ist eine wahre Wohltat für gestresste Seelen und strapazierte Ohren.

Kreng transports us through the swirling darkness and into the unknown with “Wormhole”, his first album in over a decade.

What does a trip towards another world sound like? We’re about to find out. The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L’Autopsie Phénoménale de Dieu and Grimoire.

Starting with “You Are Here”, the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios.

Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door…

Gennaro, formerly known as Blackchild, returns to Cécille Records with his second release on the label, delivering a confident and deeply musical four-track EP that captures the full scope of his sound.

Each track reveals a different facet of Gennaro's musical identity.from stripped-back, groove-driven club tools to more nuanced and emotive moments - all tied together by his unmistakable sense of rhythm and atmosphere. It's a release that feels focused yet expansive, showing an artist who knows exactly where he stands and where he's heading.

Nick Curly and Marc Scholl are proud to continue working with Gennaro and to welcome him back on the label with a release that underlines both artistic growth and creative consistency. This EP isn't about following trends; it's about personality, craftsmanship and club-ready music built with intention.

A strong statement, a natural progression and a clear reflection of Gennaro's range - this is his next step on Cécille Records

In a year which marks the 40th anniversary since the initial formation - under the moniker of Black Death - of what would subsequently grow into influential genre legends, 2026 marks the return of the imperishable Norwegian duo of Fenriz & Nocturno Culto for their new opus of high calibre old metal, under the banner of ‘Pre-Historic Metal’. As Fenriz himself proclaims of the title’s symbolic origin, “Prehistoric is a loose term. I just figure it’s our VIBE, our take on things & it’s more a statement that we use old style to create something new”.

‘Pre-Historic Metal’ contains eight tracks of primal epics & gargantuan riffs with organic sound & the ever-present permeating spirit of the 70’s & 80’s, for a new continuation of the mastery witnessed on 2024’s ‘It Beckons Us All’. This next chapter in Darkthrone’s extensive & ongoing catalogue presents a vast odyssey through the sonic landscapes of Thrash, Black, Heavy & Doom Metal &, adorned with a punishing & “in your face” guitar presence, Darkthrone stirs the cauldron of savage creativity with a nod to the writing methods which were indicative of their earlier works of the late 80’s, but with a more refined craft.

'Pre-Historic Metal' was recorded at Chaka Khan Studios, Oslo, with production work conducted by Ole Øvstedal, Silje Høgevold & Mads Luis. Mastering was carried out by Jack Control at Enormous Door, & Maor Appelbaum Mastering.

This edition of 'Pre-Historic Metal' is presented on black vinyl.

Kenshi Yonezu’s cinematic new chapter comes to life on vinyl.

This special single features Kenshi Yonezu’s latest hit IRIS OUT, the evocative theme from CHAINSAW MAN – THE MOVIE: REZE ARC, Top 5 of the Billboard Global 200 charted song,

becoming the highest-ever charting position for a Japanese language song, alongside JANE DOE, a powerful collaboration with J-pop icon Hikaru Utada. Blending Yonezu’s inventive

production with Utada’s signature vocals, the track marks a landmark meeting of two of Japan’s most visionary artists.

The release also includes Yonezu’s global platinum hit KICK BACK, together with fresh remixes by Frost Children and 2 more, each reimagining the song through a distinctive creative lens.

Pressed on single black 45 RPM vinyl, IRIS OUT/JANE DOE is housed in a sleek single-pocket jacket with a fold-out 12”x24” insert including an Illustration by Kenshi Yonezu, making it a

must-have for collectors and fans of Kenshi Yonezu’s bold, genre-defying sound.

Leading voices in contemporary Organic House anchor LS001 V.A-Thunderlab Collective, the inaugural vinyl-only edition from Life Signal. This first chapter introduces Life Signal as a curated imprint dedicated to presenting standout works from modern electronic music-pieces selected for their lasting impact and now pressed exclusively for listeners who value both sound and physical format.

These tracks have earned significant attention within the digital space, and this release brings them to vinyl for the first time, giving collectors a chance to experience them in a new, tactile form.

A1-Volen Sentir & PROFF-"Luna Amazonia (PM Mix)"
The record opens with a signature blend of organic textures and melodic flow, shaping an atmosphere that sets the tone for the edition.

A2-Krasa Rosa-"
Kaftan"A refined balance of acoustic nuance and electronic drive, building toward a standout breakdown and a sharp, vocal-chopped lead.

B1-Jiminy Hop-"Cavalier (Extended)"
Marked by Jiminy Hop's characteristic phrasing and evolving percussive movement, this version extends the melodic narrative with precision.

B2-Audiense-"Winterfell (Extended)"
A steadily rising finale combining psychedelic touches and ethno-vocal textures, rounding out the collection with an expansive sense of lift.With LS001, the Life Signal vision arrives on vinyl: curated electronic works preserved for collectors who follow music not only by sound, but by legacy.

The Citadel Speaks marks the first recorded statement of ElektrAV as a curatorial imprint.

Rooted in Pamplona’s Citadel —and more specifically within the Arms Hall— this release brings together Alberta Balsam, Boris Divider, Bendiak, Komatssu and µ-Ziq, artists whose practices have resonated within the festival’s ecosystem through a shared sensitivity to space, experimentation and sound as cultural expression. Their contributions are not conceived as documentation of an event, but as part of an ongoing cultural dialogue.

The Citadel is not presented here as a venue, but as an active entity: a space that absorbs, transforms and emits sound. Each contribution responds to that condition, forming a collective statement shaped by place, time and intention.

This first volume initiates a living archive.
What follows is not a catalogue of releases, but a body of work.

2026 Repress

French talent Hyden makes label debut on Mutual Rytm with conceptual new techno EP, 'To Whom It May Concern'. Hyden is a potent force in the French underground, creating powerful techno with dense percussion, immersive grooves and subtle nods to classic influences - all through his own unique lens. Having delivered standout releases in recent years, here he offers up sounds "anchored in psychoanalysis, time, and emotional residue" as he makes his mark on SHDW's Mutual Rytm imprint, delivering influences of dream logic and surrealism as the palette moves between brutality and introspection. "It's hypnotic music for moments of rupture where something breaks or breaks through". Opener 'Manifest Content' is inspired by Freudian theory and explores the surface illusions of thought and dream. It's about the dissonance between what we perceive and the deeper meaning that slips away beneath and is a deep and dubby techno track with flashes of unsettling melody. 'Bruises' is emotional trauma made sonic. This piece delves into invisible scars and traumas, residues of past conflict or intimacy - it's slow-burning, heavy and raw. 'Jikan' is a meditation built on time and its erosion. Inspired by the Japanese concept of impermanence, it reflects fleeting moments, decay and the tension between stillness and motion with jacked up but warm drums and turbulent bass. Next, 'Free Will' is born from inner conflict and plays with deterministic rhythms and evolving layers, questioning whether we are truly in control or just passengers in a prewritten sequence. The vocal mentions, "creatures, you're out of time" to bring darkness to the intense but sleek rhythms. The streamlined physicality of 'Swarm' channels the primal force of collective movement and is a nod to the loss of individuality in group behaviour. In addition, the package is loaded with digital bonus cuts. 'Yumehara' is a dive into surreal dream-states and evokes subconscious landscapes where logic dissolves and emotion reigns, while 'Lu Bu' is brutal and warlike and named after the legendary Chinese general that captures impulsive violence, betrayal and reckless glory with relentless energy and rhythm. Lastly, 'Neon Pale' is a synthetic dreamscape about fading beauty under artificial light - a melancholy ode to cities at night and the loss of warmth in modern life.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality.

Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist. The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical.

On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

"Know Your Toms", it struck us that we have in our collections a number of amazing releases from artists writing deep and underground house music all going by the name Tom. The mission - to collect a track from each of them and make the kind of release which finds its way into only the best record collections. Tom Lown records as Lucky Sun and runs his own label of the same name. His track "Tomcat" is deep, pad drenched house for when the sun is out and the dancefloor is heating up.

Tom Gilbert is a master at crafting melody-rich, future-facing electronic music that's as timeless as it is tuneful, atmospheric and pleasingly nostalgic as can be heard in his track "Tom & Roland". Tom Churchill is a Scottish-based electronic music DJ, producer, and label owner involved in the scene since the mid-90s, his track "Backwards Glance" is his trademark deep house at its finest.

Tom (Shur-i-kan) Szirtes needs no introduction and has produced the kind of track which lights up the dance floor in a peak time house set, "Round Robin" is an instant classic. Between them they have been signed to the cream of the crop in underground house labels: Freerange, Headspace, We're Going Deep, Winding Road, Innate, Tronicsole, M>O>S, Nordic Trax, DiY Discs, Echocentric, Lost My Dog, 2Sox, Distant Worlds. The EP Comes on eco marbled vinyl, with "Know Your Toms" sticker and insert which is a guide to identifying the different types of Toms out there. A limited run of T-shirts available from Fourier Transforms Bandcamp

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

Passages in Time, the third album from Kasper Bjørke Quartet, traces the contours of a blend of spiritual jazz reverence and the calming grandeur of '80s ambient. Inspired by Christopher Nolan's observation that "time is the most fundamental part of our human experience," the compositions are approached as fragments of time and memory. Meditations on the elusive nature of time form the heart of the work, merging freeform jazz improvisations with cyclical synthesizer patterns that mirror its quiet undulations.
Dreamy synths intertwine with guitar, harp, trumpet, flugelhorn, saxophone, and flute, creating a spacious environment for contemplation. The music invites reflection on the choices that shape our lives and the lives of those closest to us, and on the quiet weight of our priorities within the brief span we call life on this planet. Each passage unfolds as a fleeting moment suspended in time. The subtitles hint at fragments from someone's diary, tender observations of love, parenthood, and connection. Together, the passages form a musical memoir of sorts, where memory and emotion are gently woven into the compositions.
Passages in Time does not impose structure or meaning, it reflects them, offering an open space as the instruments drift in and out of focus, tracing time's subtle rhythms and inviting the listener to infuse their own memories and meaning into these passages.
The album also marks a transformation for the Quartet project itself. Langstrakt (Claus Noreen), part of the original ensemble, continues to operate the synthesizers alongside Bjørke, while the wider constellation of contributing musicians has evolved. Strings and piano give way to flute and saxophone by Oilly Wallace, guitars by Danish ambient composer Anna Roemer, trumpet and flugelhorn by Malthe Kaptain, and cascading orchestral harp by Katie Buckley, principal harpist with the Icelandic Symphony Orchestra.
The cover painting is by American artist Marcus Leslie Singleton, courtesy of V1 Gallery, and reflects the meditative and timeless atmosphere of the music.
Passages in Time is released on Bjørke's own imprint, Sensitive Records, following the two previous Quartet albums released on Kompakt Records: The Fifty Eleven Project (2018), a debut that introduced Bjørke's ambient and neoclassical explorations, and Mother (2022), which expanded the ensemble's sound with emotive choir compositions and guest appearance by Sofie Birch (Unsound / Stroom). Together, these three albums trace a journey of artistic growth, from introspective experimentation to a fully realized, contemplative expression of time, memory, and human connection.