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Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.

Funny How? is Christophe Chassol’s fifth album.



While it builds directly on his work with the “Ultrascores,” it also marks a turning point: a more contemporary sound, broader songwriting, and more explicitly political and social themes make Funny How? his most accomplished album to date. It’s also his most accessible: inspired by American stand-up comedy, Funny How? sounds like a joyful mix of all the music that inspires the artist: soul, jazz, rap, musicals… Thus, throughout the album, major stand-up figures like Dave Chappelle, Marina Franklin, Dulcé Sloan, and Tiny Thickemz appear alongside emerging comedians filmed in more intimate comedy clubs, composing a moving portrait of the new American scene.

Drawing on archival footage and sequences shot for the project in New York and Chicago, and true to his principle of harmonizing reality, he reveals its hidden notes, replaying and developing them throughout a fascinating process. The result is a major work, a choral, political, and deeply musical narrative. In concert, the work unfolds majestically through a hybrid performance where music and images respond to and converse with one another.



The premiere of Funny How? on April 17 and 18, 2026, at the Cité de la Musique in Paris is already sold out. The album is scheduled for release on May 22, 2026.

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Berlin-based duo Mug present their debut album 'The Well'. With a range of influences from no-wave, shoe-gaze, rock, and ambient, “Mug’s” emotional rawness refracts through a lens of spectral soundscapes and austere textures.
Intimate and sincere, 'The Well' is about licking your wounds after a breakup, finding light within the cracks and letting it grow.
Ludwig Wandinger and Yves B Golden began their musical collaborations based on mutual respect and interest in each artist's vastly different backgrounds. Golden grew up singing in her grandmother’s pentecostal church, but is known widely for published essays and poetry. Wandinger, is an internationally acclaimed drummer, music producer and visual artist, interacting in various fringe music scenes.
What began as long distance collaborations released under various outlets such as Caterina Barbieri´s light years, Wandinger and Golden, now living in the same city, morphed into a protracted exploration of songwriting and improvisation, a process defined by immediacy and unfiltered expression: “first thought, best thought.”
Though “The Well” marks the first release from this impulse driven duo, this album promises an ongoing evolution, or discovery, wherein genre specificity is inconsequential.

Ataxia return to Planet E with two club-optimized cuts that capture their rolling, characterful approach to the authentic roots of Detroit's electronic culture. Marking the duo's return to Planet E following 2020's Oblivion EP, both tracks deliver energy tapped from a fundamental understanding of house and techno, equally charged with their punk and DIY background.

Immediately establishing a deep, hypnotic beat, 'The Whistles' expands into a collage of unruly samples that tour the club, the street and the true characters between. Playfully hinting at the tension between Detroit's party people and those who would like the music turned down, the track is a steamrolling club cut that finds Ataxia going wild with their most psychedelic studio trickery.

'Hocus On Pocus' is a tightly wound, punchy psychedelic wormhole of analogue FX and rubbery basslines, adding layers of pressure and surprising sonic twists. The result is an offbeat banger in the spirit of Planet E's wildest moments; primed for the dancefloor but with personality to spare.

Details marks SCHiLLiNG's return after years of research, above all on himself. It brings together the practices that have become essential to him: composition, sampling, sonic patchworks, and a palette that mirrors the full spectrum of his musical identity, from Rock'n'Roll to Trip-Hop and Ambient. Details is rich in small edits, hidden layers, fragile textures, and fragments that reveal themselves slowly. Yet the word carries a deeper meaning: what truly matters is often the smallest element, what doesn't appear clearly at first glance or on first listen, yet quietly holds the core of everything. The detail as the very pulse of one's inner world. Across 14 tracks, the album unfolds as a diverse journey, carefully shaped yet open enough to allow unexpected elements and subtle imperfections to remain part of its flow. The structure is not binding, you can begin from any track and embark on your own path through it. Each piece contributes to a wider arc without overpowering the others. The album includes collaborations with several artists who lent their talent to the project; their names appear in the credits of the physical release. In many ways, they embody the very idea behind the title: individual presences, each bringing their own nuance, forming a whole together. After all, fragments, in their union, shape the larger totality. Details doesn't ask to be consumed in a specific way, fast or slow, close or distant. It simply is what it is

Amid rusted transistors and owner manuals blurred by dust, Rogelio Serrano rescued abandoned vintage synthesizers from Mexico City's flea markets. These devices, revived by a Japanese technician based in the capital, returned to life with electric pulses, becoming accomplices in nearly clandestine recording sessions at a solitary, remote location called "Ojo de Agua" on the city's outskirts. Sound Cartography is a sonic archive of tracks recorded between 2017 and 2019, which could easily be considered demo pieces, unfinished works, or simply orphaned creations.

Tartelet is pleased to kick off 2026 with a display of warm-hearted tech funk from Italian house maestro Paffetti. Having made his name with a strong run of sample-rooted deep house as Black Loops, Riccardo Paffetti unveils a new alias to explore a more club-focused, trippy sound.

Even with the shift in sonic focus, Paffetti maintains a razor-sharp instinct for low-downgrooving deep house dynamics that course through every inch of the UTOPIA EP. It's plain to hear in the rolling bassline and shuffling drums that mark out 'B.Y.M. ' and the disco-licked strut of 'Escucha Me'. The difference is the decoration on top, where mind-massaging zips and pings and artful samples add a subtle touch of psychedelia to the sophisticated house music blend.

Across five cuts, UTOPIA unfolds with a strong sense of momentum and melodic intent, marking a confident new phase in Paffetti’s ongoing exploration of deep, hypnotic club sounds.

Celebrating a decade since its live debut, Detroit-based artist Rebecca Goldberg announces the first-ever vinyl release of her original score for A Trip to the Moon, the iconic 1902 silent film by Georges Méliès. Composed in 2016, Goldberg’s reimagining of the groundbreaking film—originally titled Le Voyage dans la Lune—translates early cinema fantasy into a minimalist electronic soundscape shaped by synthesis, texture, and composed foley.

Goldberg’s approach honors the wonder and theatricality of Méliès’ vision while grounding it in Detroit’s lineage of forward-thinking electronic music. The score premiered in Paris in 2016 with live performances at Silencio, the club founded by David Lynch, and at Bar à Bulles, located above the legendary Moulin Rouge. The Paris events were produced by Why So Serious Productions and marked a rare convergence of experimental electronic performance and historic cinematic space. Goldberg also presented the live score in her native Detroit, reinforcing the transatlantic bridge that has long shaped her conceptual record projects.

Now, ten years later, the score will be released for the first time on vinyl in a limited edition of 300 copies. The pressing captures the nuance of the original live compositions while offering listeners a new way to experience the interplay between silence, rhythm, and sonic illusion. As with Goldberg’s previous conceptual 12" releases, the vinyl format serves not only as a medium but as an artifact that preserves and reframes cultural memory.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

Der legendäre Italo Disco Hit „Shanghai“ von Lee Marrow aus dem Jahr 1985 feiert sein Comeback – jetzt als streng limitierte Maxi Single auf farbigem Vinyl. Diese exklusive Veröffentlichung vereint authentischen 80er-Jahre-Sound mit modernen Neuinterpretationen und ist ein echtes Highlight für Fans des Genres.

Seite A enthält die Originalversion von Shanghai, die mit ihrem treibenden Beat, markanten Synthesizern und unverwechselbarem Italo-Disco-Feeling bis heute begeistert.

Auf Seite B erwarten euch brandneue Remixe von Saint Tropez Caps, die dem Klassiker frische Club-Energie verleihen und gleichzeitig den Charme des Originals bewahren.

RCR002 marks the second release from RAW CUTS Records, bringing together four established producers making waves across their respective scenes.

Leading the VA is 'Junior' from Argentinian artist Light Blue File whose been creating buzz with his cotemporary take on electro house built to set dancefloors alight. On A2, UK mainstay and Bizarre Trax founder Jhobei delivers 'Radionyx,' a hypnotic, progressive leaning takes on modern UK tech.

Flipping to the B-side, Christopher Ledger brings the acid-driven pressure of 'Acid Redux.' with a commanding bassline Rounding out the release is fellow Argentinian Guile, closing the VA with 'El Sonido Subterráneo,' an electro-infused funk workout that brings us home.

Rebecca Goldberg presents the release of her debut full-length album, Night City, a deeply personal and expansive body of work that reflects a decade of artistic growth, exploration, and connection. Produced and arranged by Goldberg, this album captures the evolution of her sound through years of practice, travel, collaboration and mentorship.

Including 12 tracks across a 2x LP, Night City draws from the rich lineage of Detroit electronic music. Goldberg cites influences from dystopian cityscapes and futurism to space exploration and the possibilities of technology. The result is a forward-thinking genre-spanning collection.

The album features two notable collaborations: “444,” created with Jnn Aprl and recorded in her studio in Seoul, South Korea, and “Tunnel,” featuring Detroit techno artist Tiptonaires. Each collaboration adds a distinct voice and texture to the record’s immersive sonic world.

Night City was mixed and mastered by Andy Toth, with album artwork illustrated by Mark Sarmel. A limited run of vinyl is available for preorder now, pressed at Archer Record Pressing Co. in Detroit. The album will be released on Detroit Underground.

At its core, Night City is an offering shaped by experience and guided by curiosity, marking a significant milestone in Rebecca Goldberg’s musical journey.

Deep and dance EP by American sound-producer Coral O'Connor marks the first vinyl release of Farmat label

Musical maverick Mark de Clive-Lowe returns to his roots with a new electro-acoustic record ‘Dreamweavers', displaying his talent as a pianist and composer in partnership with creative collaborators bass player Andrea Lombardini and drummer Tommaso Cappellato.
De Clive-Lowe’s stylistic signature is usually found in his role as conductor, producer and manipulator of sounds behind his highly customized, mind-boggling setup of intertwining synths, drum machines and live-remixing technology. With all but a grand piano and a few keyboards stripped away from him, and the production in Lombardini and Cappellato’s hands, ‘Dreamweavers’ is the first non-self-produced MdCL album in 25 years.

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

Die hochgeschätzten Euro-Metal-Pioniere Oz wurden ursprünglich 1977 in der kleinen finnischen Stadt Nakilla gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape De Martini (Eero Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Fünf Jahre nach ihrer Gründung legten Oz ihr Debütalbum vor. Mit Krachern wie “Saturday Night”, “Capricorn Man” oder dem schlüpfrigen “Second-Hand Lady” avancierten Oz schnell zur HM-Band Nummer eins in Skandinavien.

In der Folge zog man nach Stockholm um, wo 1983 der gefeierte Zweitling »Fire In The Brain« entstand. Die Platte enthielt höchst energetische Heavy-Metal-Hymnen wie “Fortune”, “Megalomaniac” oder “Gambler”. Der kanadische Journalist Martin Popoff verteilte in seinem »Collector’s Guide To Heavy Metal« 9 von 10 Punkten und schrieb: »Fire In The Brain« ist eine düstere, fast depressiv wirkende Platte, die den Hörer wie ein Güterzug trifft. Es ist ein sehr europäisch klingendes Werk – vom apokalyptisch anmutenden ‘Searchlights’ über das zähflüssige ‘Black Candles’ bis hin zum gewaltigen Titelsong werden absolut keine Gefangenen genommen.“

High Roller Records, silver vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, lyric sheet, 12 page booklet, poster

Wenn Sie Joey Quiñones fragen würden, woher er die Inspiration für seine Musik bezieht, müssten Sie nicht weit von dem Ort suchen, an dem der Sohn aus East LA aufgewachsen ist. Wenn man seine Werke hört, fühlt man sich in einen Umkreis von zwei Blocks seines Viertels versetzt - vom Spirituosengeschäft zum Plattenladen ,Sign of Music" am Whittier Boulevard und zurück zum Haus eines Freundes. In diesen zwei Blocks hört man Cumbia aus den Geschäften dröhnen, Punk-Proben aus einer Garage, Oldies aus dem Garten eines Nachbarn - eine Reizüberflutung, die Sie bis nach Hause begleitet, all diese Genres, die gleichzeitig in Ihrem Kopf erklingen. Für langjährige Fans von Quiñones' Musik ist das keine Überraschung. Er hat sich als einer der führenden Interpreten seiner Generation etabliert und seine Karriere der Vermittlung seiner einzigartigen Perspektive auf das Chicano-Soul-Songbook gewidmet. Doch vor Thee Sinseers, vor den üppigen Orchestrierungen und den perfekten Harmonien, die zu seinem Markenzeichen wurden, sammelte Quiñones erste Erfahrungen als Leiter verschiedener Begleitbands für jamaikanische Ska- und Dancehall-Acts, die durch Südkalifornien tourten. Er beschreibt diese Jahre als Reggae-College, in dem er von jedem jamaikanischen Künstler, der eine Platte herausgebracht hatte, angeschrien wurde. Diese Jahre der Ausbildung in Rocksteady und Roots-Reggae prägten alles, was danach kam - und auf seinem neuen Soloalbum ,Inna Soul Steady Situation" stellt Quiñones diese Einflüsse endlich in den Vordergrund.

Wenn Sie Joey Quiñones fragen würden, woher er die Inspiration für seine Musik bezieht, müssten Sie nicht weit von dem Ort suchen, an dem der Sohn aus East LA aufgewachsen ist. Wenn man seine Werke hört, fühlt man sich in einen Umkreis von zwei Blocks seines Viertels versetzt - vom Spirituosengeschäft zum Plattenladen ,Sign of Music" am Whittier Boulevard und zurück zum Haus eines Freundes. In diesen zwei Blocks hört man Cumbia aus den Geschäften dröhnen, Punk-Proben aus einer Garage, Oldies aus dem Garten eines Nachbarn - eine Reizüberflutung, die Sie bis nach Hause begleitet, all diese Genres, die gleichzeitig in Ihrem Kopf erklingen. Für langjährige Fans von Quiñones' Musik ist das keine Überraschung. Er hat sich als einer der führenden Interpreten seiner Generation etabliert und seine Karriere der Vermittlung seiner einzigartigen Perspektive auf das Chicano-Soul-Songbook gewidmet. Doch vor Thee Sinseers, vor den üppigen Orchestrierungen und den perfekten Harmonien, die zu seinem Markenzeichen wurden, sammelte Quiñones erste Erfahrungen als Leiter verschiedener Begleitbands für jamaikanische Ska- und Dancehall-Acts, die durch Südkalifornien tourten. Er beschreibt diese Jahre als Reggae-College, in dem er von jedem jamaikanischen Künstler, der eine Platte herausgebracht hatte, angeschrien wurde. Diese Jahre der Ausbildung in Rocksteady und Roots-Reggae prägten alles, was danach kam - und auf seinem neuen Soloalbum ,Inna Soul Steady Situation" stellt Quiñones diese Einflüsse endlich in den Vordergrund.

Five years ago, Curren$y proved once again that while the rest of the world might hit the brakes, the Jet Life never stalls. Released in the early months of 2021, Collection Agency arrived as a masterclass in "work-from-home" luxury—a smooth, ten-track victory lap that solidified Curren$y’s status as the most consistent architect in underground hip-hop.

Clocking in at just under 24 minutes, Collection Agency is the sonic equivalent of a pristine, low-mileage 911 Turbo. It’s lean, expensive-sounding, and devoid of filler. While the world was still grappling with a sense of stagnation, Spitta was in the garage, documenting the rewards of a decade-plus grind.

The 10-track release marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. Once again, Curren$y delivers another unforgettable round of smooth joints and cruising music.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Modal Analysis returns in 2026 with a new 12'' EP from Greek artist Fragedis. Marking the Athens label's revival, Linear Sequence EP delivers four electro-leaning techno cuts, equally suited to the dance floor and late-night listening. Mastering by Alden Tyrell Artwork by Achileas Gerokostopoulos

Andalusian emerging-talent producer GAZZI, a young yet influential figure within the broader Spanish electronic scene, presents an LP that feels like a quiet turning point in his career. Rooted in ambient and new-age minimalism, the record drifts through piano-based textures, soft pauses, and spacious moments that invite deep introspection.
Across its delicate arrangements, GAZZI captures the sensation of slowing down in a world where everything feels fleeting. These tracks hold space for reflection-offering nostalgia, stillness, and the subtle suggestion that hope remains at the edges of even the most ephemeral moments. Each piece unfolds like a landscape suspended in time, shaped by restraint, emotional nuance, and a profound sense of presence.
Presented by Glossy Mistakes, the release reflects the label's ongoing commitment to uplifting a new wave of contemporary Spanish artists, highlighting creators who are redefining the country's sonic identity through experimentation, sensitivity, and forward-thinking sound design.
In GAZZI's own words:
"These songs were made to sit with the wound - to let you drift, to feel scattered, contemplative; they're meant to keep you from thinking too much - or maybe to make you think a lot."
The result is a meditative, deeply personal body of work-one that not only marks a cornerstone in GAZZI's artistic path but also extends Glossy Mistakes' mission to showcase innovative, emotionally resonant voices from Spain's evolving music landscape.

Following a successful first volume of the newly launched DC4 compilation this summer, Volume 2 arrives featuring four on-point singles from the label’s extended family of artists, alongside a string of label debutants. Heerhorst & PETER PAHN return to the fold following their contribution to ‘Dark Clouds’ with Teenage Mutants, a former Beatport no.1 and highlight of 2023 for the label. Continuing the celestial themes ‘Crystal Sky’ feels like part 2 to ‘Dark Sky’, a lively electro-tinted record driven by dreamy melody lines and chanting vocals that has plenty of peak-time energy. Italian behemoth’s Mind Against debut on Drumcode in collaboration with Tharat, ‘Cloud’ is one of the most interesting releases we’ve heard on the label in recent times, marked by a head-spinning flurry of stuttering, distorted sounds, all the while maintaining a rolling,

intoxicating groove. Rising German artist Kos:mo mints his first release on DC with ‘Samsara', a fierce acid techno cut that takes on a life of its own in the second stanza, equally fit for a film soundtrack as a dancefloor, such is its dramatic arc. OZBEK & Zafer Atabey are mainstays of the Turkish techno and tech house scene, ‘My Culture’ is drenched in attitude, a slick slice of punchy dancefloor grit, with a foot in house, techno and electro, driven by a rapped vocal line.

Asyncronous return with their third EP "Selected Memories We Never Had" - a refined continuation of the Ukrainian project's signature blend of ambient and downtempo. On this release, their sound evolves into a more cinematic, immersive form, shaped by layered atmospheres, subtle melodic narratives, and deep emotional textures. The EP balances introspective mood with strong visual imagination, positioning Asyncronous firmly within the space between contemporary ambient, electronica, and film-influenced sound design.

This release marks the relaunch of Kashtan, a Ukrainian record label curated by Vera Logdanidi. After a pause caused by the full-scale war in Ukraine, Kashtan returns with its first vinyl release since 2022, dedicated to forward-looking Ukrainian electronic music beyond strict genre definitions.

For fans of post-punk and new wave, some songs aren’t just classics — they’re emotional landmarks. Joy Division’s “Love Will Tear Us Apart” and The Cure’s “A Forest” (both released in 1980) helped define an era, shaping decades of alternative music with their stark honesty, atmosphere, and unmistakable sound. Revisiting them is no small task.

Reimagining them successfully is even rarer. This special, limited 7” release — pressed to just 300 copies — does exactly that, thanks to legendary Dutch electronic producer Maarten van der Vleuten. A joint effort between Maarten’s own Signum Recordings and American chill-out imprint re:discovery records, he brings these two towering songs into new territory through the hands of an artist who understands both history and transformation. On one side, Maarten delivers a striking cover of “Love Will Tear Us Apart,” taking on Ian Curtis’ immortal lyrics himself. Rather than mimicking the original’s desolation, this version reframes the song into something unexpectedly inspirational and equally moving. It’s respectful, deeply personal, and emotional. Flip the record and “A Forest” is reborn as an ambient-electro journey, marking the vocal debut of Melbourne-based Linda Kastanja.
The result is dynamic and powerful, retaining the song’s eerie tension while expanding its atmosphere into something spacious and cinematic. Honoring their legacy while reshaping their form, it offers longtime fans and new listeners a rare opportunity to hear familiar emotions from a completely new perspective. Todocument this release, a music video has been made for “Love Will Tear Us Apart,” directed by Maarten and edited by Tobias Grönvall, aka Unit 21.

Nothing marks a return to wax like gathering members of our worldwide family to showcase vastly forward thinking production.

Featuring Markus Suckut, Iori, Skudge, and Na Nich & Vera Logdanidi, this record brings together four distinct approaches across the format, each contributing to a shared physical and sonic language, looking to shine a light on the way these conjoined vibrations permeate through the listener, carrying an impulse throughout their entire system.

On this VA, our ears are subject to torque, soundwaves expose a pole model, and every single track, contrasting in dynamic and intensity, presents a relationship bound by strong interactions.

DJ support – Jamie Jones, Seth Troxler Damian Lazarus, Marco Corola, Joseph Capriati, The Martinez Brothers and Rey Colino

S.A.M. returns to Up The Stuss this summer with the third release in the UTSOFF series, delivering a potent double-header that’s been rattling dancefl oors for months. Titled ‘Hit You With My Phone’, the release arrives on 4th July and features two dynamic cuts that further cement the Danish talent’s place in the label’s core family.

A mainstay in Chris Stussy’s recent sets and one of the most talked-about IDs in recent months, title track ‘Hit You With My Phone’ is pure dancefloor dynamite — a helter-skelter ride through organised chaos, laced with warped vocals, frenetic percussion and a relentless groove that grabs you and doesn’t let go. It’s bold, it’s unpredictable, and it’s quickly become one of the most commanding tracks in the Dutch label boss’s arsenal.

On the flip, ‘Got Me Down’ offers a skippy contrast — a low-slung groover that channels tension and release with tightly wound drums and rolling bass, keeping things locked for deeper moments on the floor.

Marking S.A.M.’s third outing on Up The Stuss following their collaborative ‘Get Together’ project with Stussy and the solo ‘Check It Out’ EP, ‘Hit You With My Phone’ sees them explore new ground while staying true to the raw, club-focused ethos of the label. As the UTSOFF series continues to shine a light on uncompromising, forward-facing club music, this latest instalment delivers two cuts built for impact and ready to cause damage.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths

Fides Records is ready to introduce the 4th chapter of the10-year anniversary series with. X4 leans into momentum and contrast with its hard-groove pressure, dub-chord depth, and melodic release that showcases a side of the label where functional club tools and emotional storytelling sit naturally together.

Side A begins with Rebecca Delle Piane’s “Genomica”, a driving techno train powered by tightly layered elements and rhythmic tenacity, marking another step forward for one of Italy’s most exciting rising artists. Rorschack follows with “Primeriti”, weaving dubby chords and rolling basslines around a haunting female vocal. Closing the side, Berlin-based SLV lands with “Ritual Resonance”, a hard-groove banger that fuses percussive urgency with dub-chord sophistication.

Flipping to Side B, OFF GRID’s “The Roots” stands out as a colorful, mental hardgroove tool: elegant in detail yet built for drive, striking a heady balance between control and impact. Francesco Devincenti’s “Joanaz” brings trance tinged melodic techno with harmonic depth and cinematic intensity, opening the door to a more emotive register. The record closes with Endrew’s “Alright”, a powerhous

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.

Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.

The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.

Shed makes his first appearance on Dekmantel with Rave Echoes — a supple, mesmerising album of angular techno caught between the heat of peak time and the time-blurred hours after the club.

A combination of dreamlike atmospherics and rugged propulsion takes on many forms across the album. It's submerged and restrained on 'Loot 25', speckled with sharply sliced breaks on 'Everybody' and scattered across a sparse, steppy soundscape on 'Rave Predator'. Emotive, swooning strings collide with tough, squashed breakstep drums on 'Double Scoop' and 'Taking You Home' thrusts with urgency and rave romanticism in equal measure.

Wielding his signature blend of UK-school soundsystem pressure and Berlin-school techno momentum with poise and purpose, on Rave Echoes Shed offers a perfect impression of those wild, indescribable sensory overloads that leave their mark on anyone devoted to the dancefloor.

DJ Support: Mousse T, Todd Terry, Young Pulse, Angelo Ferreri, Melvo Baptiste, Richard Earnshaw, Micky More & Andy Tee, Dr Packer, Hatiras, DJ Rae, Mark Picchiotti, Birdee, Shaka Loves You, Yasmin, Saison, Michael Gray, DJ Spen and Hatiras

A Touch Of Love goes from strength to strength with EP8 in the vinyl series. Label boss Seamus Haji reps the A side with his latest faves ‘Fire’ with his good friend Mike Dunn serving up the unmistakable vocals on a funk fuelled Firestarter followed by his collab with the New York diva Kathy Brown over the sexually charged disco chugger ‘Dancing’. On the AA side new kid on the block from Barcelona Osner hit big with his outing ‘It’s Good’ with a nod to the 70’s with a modern twist for peak-time dancefloors whilst Italy’s fast rising underground hero Gledd continues the theme with the blues & soul injected thumper ‘Move Me’.

More Modern Soul madness from the team at Celestial Echo. No Stranger To Love is one of those rare tracks that crosses over both Modern and Northern scenes & has long been a favourite of collectors and selectors with original copies regularly changing hands for £100 + on the second hand market.

This lead to the synth laden funk track being picked up by Dam Funk & the Stones Throw crew, who shone a new light on the track via online mixes which has only increased the demand.

Officially reissued for the first time in 40 years and as always, officially licenced and remastered by Celestial Echo Records. Needless to say, buy or cry.

Repress on Transparent Red Vinyl

Ramping up the intensity from his 2025 debut, Joe Milli returns to Livity Sound with a spring-loaded EP of upfront club workouts that once again split the difference between techno propulsion and UK Funky swagger.

Milli's previous release, Deep Forest, carried a dubby atmosphere on top of its bassweight rhythms. On this new four-track EP, the shroud lifts and he leans in on raw, impactful drums and sparse sound fields.

'Retreat' piles percussion into an uptempo stomper with a looped intensity and carnival accents on top, and 'Mantra' offers a similar 4/4 thrust around the 140 mark. Meanwhile, 'Revival' locks down low into a heavy dembow-informed groove and 'The Less You Know' prizes tense, precisely arranged hand drums with a minimal finish primed for creative blends.

Zeroing in on stark, heads-down production for the club, the Repetitions EP offers a different slant on Milli's emergent, sharply executed sound.

2026 Repress

Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry, arriving 12 December 2025. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation.
Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. It is a structure of structures, a logic of laws, an abstract unity embedded in the act of transformation itself.
Accordingly, the four-track EP reflects this duality. Each side opens with a piece of electronic music at its most precise and immovable: defined, kinetic, architectural. This is followed by a second composition that dissolves into a weightless, atmospheric counter-form.
The shift evokes a higher symmetry: an alignment not of parts, but of principles; a sonic model of the universe’s hidden invariance.
Metasymmetry also echoes across Dopplereffekt’s extended sonic continuum; this stands as the first offering on Tresor under the Dopplereffekt name despite an association with the label and club going back to the start. In this, it becomes the source of an echo that reverberates backwards through time; its own reflection:

2026 Repress!

Tresor Records is proud to announce forthcoming special editions of its entire catalogue of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalogue. These editions will be released sequentially, bimonthly, starting early-September 2022.

The series starts with Neptune's Lair, first released in 1999, with the Hydro Doorways single arriving shortly after. In November, Harnessed The Storm and Digital Tsunami are coming. In 2023 comes the release of Transllusion in February. The series is completed by the long-awaited re-release of Shifted Phases - The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope - at the end of March.

These records, individually and as a catalogue, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.

Blue Hour is the most recent release from Friday Night Plans, recently signed by Modern Obscure Music. The project marks FNP's shift from their 'pop' roots towards a more experimental and ambient sound. Friday Night Plans is pioneered by singer/songwriter Masumi who has collaborated on this project with acclaimed Japanese producer Ena. Together, they have created a collection of songs that represents the quiet introspection and emotions of the AM hours, using improvisation during the production process to create a cyclical record that is described as 'dreamlike'. Masumi attributes the project to a journey consisting of fragments of memory through each song; a reflection of how nostalgia and recollection connects us to emotions.

Tony Bontana, the Birmingham rapper, producer and multi-instrumentalist, releases his 35th album My Name, which is also his first to receive a proper vinyl pressing. The album follows an impressive 2025 in which he performed with Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454.

His earlier 2025 album The Beautiful Malaise made The Wire’s annual top 50, and he appeared as the sole feature on Nourished By Time’s album The Passionate Ones, where Marcus praised his “freewheeling spirit.”

Tony’s production work has appeared on records by Billy Woods, Cities Aviv and Novelist, with upcoming collaborations planned with Blackhaine and DJ Python. The single Battered Chips has received airplay from NTS, Esk on Rinse and Huw Stephens on 6 Music.

If anyone is counting this is the 35th album by Birmingham rapper, producer, multi-instrumentalist Tony Bontana. A pioneer of his own ‘Splayed’ style of production characterised by heavily manipulated samples, non-linear rhythms and introspective lyricism. My Name is a significant landmark for Tony being the first album to receive a proper vinyl pressing. It caps an impressive 2025 which has seen Tony play live with acts such as Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454. His previous album “The Beautiful Malaise” (one of four he released in 2025) made The Wire’s annual top 50. He appeared as the sole feature on the acclaimed Nourished By Time album The Passionate Ones on the track Jojo with NBT’s Marcus praising the rapper as having the “freewheeling spirit of a street baller out on the playground” . His productions have already appeared on records by Billy Woods, Cities Aviv and Novelist with further collabs to come with the likes of Blackhaine and DJ Python. The standout single Battered Chips has received airplay from NTS, Esk on Rinse, New Music Fix and Huw Stephens on 6.

2023 Repress


Voices From the Lake (consisting of Donato Dozzy and Neel) mark the 10th anniversary of their influential self-titled album with a fully remastered reissue on Spazio Disponibile. It arrives in full on vinyl for the first time, as well as on digital formats, first quarter of 2023 as the pair continues to play select live shows around the world. The release will see the light of day as a 4-set vinyl LP release, including download. Italians Dozzy and Neel have been friends united by a shared vision of music since their teenage years. They are immaculate sculptors of sound who fuse evocative ambient and leftfield techno into multi-layered soundscapes. For many years they worked as established solo artists but came together in 2011 to craft what is now regarded as one of techno's most pure and absorbing listening experiences. It's often said that the best music comes about as a happy accident, and that is certainly true of Voices From the Lake. The career-defining album first arose in the thoughts of Dozzy and Neel when the latter was preparing a mix for the former's wedding and named it Voices From The Lake. It was a pertinent title that stuck in the mind: both grew up by waters around the coast of Italy, and in their early days the pair even held private parties on the shores of a lake. Fittingly, Japan's celebrated Labyrinth festival at that time was also held by a river and a lake in the middle of a forest on a serene mountainside. It was that exact setting the pair envisaged when making music to play live on stage. During preparations, they "accidentally" wrote an entire album. It has only ever been performed live a few times - once at Japan's Labyrinth festival in 2011, at London's Barbican, Barcelona's Mira Festival, Paris' Marathon Festival and once during 2022's Amsterdam Dance Event. Those shows saw the pair using banks of analogue and digital equipment to improvise in the moment and essentially remix the album live on stage. That spontaneity is captured in the original Voices From the Lake recordings and on later LPs such as Live at Maxxi in 2015, and the most recent EP Quarto Freddo from 2020. But the debut album remains a standout achievement. A decade on, it's quiet intensity, musical storytelling and slowly unfolding tension remain in a class of one. Each sound is meticulously designed and placed, and the spaces left behind are just as important in conveying such a captivating mood and emotion. Rather than traditional kick drums, hi-hats or snares, this is music crafted from layers of real-world sound - dripping water, chirping birds, rustling leaves or a distant breeze - and it's that which defines the album's organic allure. From deeply contemplative to cautiously optimistic, pastoral organic scenes to more underwater worlds, Voices From the Lake is a cohesive collection of tracks that add up to one inseparable whole.

yellow & green mixed coloured vinyl 2026 Repress

Previous releases on aufnahme+wiedergabe, Fleisch Records, Minimal Wave Records imprint Cititrax and n-PLEX have been frequently played by acclaimed DJs (Phase Fatale, Randomer, VTSS, Amelie Lens, Regis, Helena Hauff, SPFDJ, Veronica Vasicka, Silent Servant to name a few).

Schwefelgelb is a Techno duo from Berlin, known for their raw but precise and cutting productions. Their reputation for a strikingly energetic live show brought them into clubs and festivals around the globe.

After launching their own label n-PLEX and releasing two original EPs on it, NPLX003 marks a re-release of their most successful record "Dahinter Das Gesicht" ("Behind It The Face"), which was released on aufnahme+wiedergabe in 2017 primarily. After 1500 sold out copies it still remains highly demanded as one of the most influential records for actual EBM-Industrial-influenced Techno. This re-issue comes in a special edition of remastered track versions and also includes an edit of its most notorious track "Es Zieht Mich" as addition to the four original tracks.




c B1 Es Zieht Mich GP2 edit

Following her debut album, I’ll Look for You in Others (Past Inside the Present), earlier this year, Patricia Wolf joins Spain’s Balmat label with See-Through, her second album. See Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I’ll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth.

“After a long period of grief, I had been hoping to find my way to a place of lightness, peace, playfulness, curiosity, and sensuality again,” Wolf says. “What I was surprised and pleased to find is that for the most part, I had.”

She wrote and recorded many of the album’s songs quickly, in preparation for an August 2021 broadcast on the online radio platform 9128 Live. Excited for the opportunity to play live after more than a year of the pandemic, Wolf decided to write all new material for the event, working with a lean setup of Octatrack, Roland Synth Plus 10, Make Noise 0-Coast, and Novation Summit. (In fact, Wolf was the first sound designer invited to create patches for the Summit.) She also picked up an acoustic guitar that her brother had loaned her. “I decided to take the surrealist approach of ‘pure psychic automatism’ to see what poured out of me,” she recalls. “Woodland Encounter,” “Under a Glass Bell,” “The Grotto,” “The Mechanical Age,” “The Flaneur,” and “Psychic Sweeping” are all products of those sessions; the through line holding them together is their exploratory spirit and clarity
of vision.

Other songs, like “A Conversation With My Innocence,” “Recalibration,” and “Psychic Sweeping,” wrestle with the traumas of the preceding year. Though they may linger on the heaviness of loss, Wolf says, “What I discovered is that a stronger archetype had grown inside me to steer my emotions and thoughts to a better place.” Likewise, “Wistfulness” and “Upward Swimming Fish”—her first experiments with VST synthesizers—balance the bittersweet embrace of melancholy with the freedom to choose happiness.

“Pacific Coast Highway,” the album’s lone song with drums, might at first seem like an outlier. But it also signals Wolf’s interest in finding a fusion between the introspection of ambient and the togetherness of beat-oriented music. “Experiencing loss and isolation is what drove me into gentler territories of sound,” she says, “but I want to start making more beat-oriented music. After an extended period of loss and isolation, I’m ready to experience more joyous and social things.”

Listeners with keen ears might recognize the album’s closing song, “Springtime in Croatia”: A different mix of the song originally appeared on the 2021 digital compilation secondnature & friends Vol. II, from the Seattle label secondnature. This marks its first appearance on vinyl, however, and its spiritual home is undoubtedly here, at the close of See-Through. As the bookending answer to the opening “Woodland Encounter”—another song in which field recordings play a crucial role—it closes the circle of an album that is itself keyed to the steadily turning cycles of life.

FOUNDATION SERIES TELX001 marks the launch of Telur Records’ new vinyl Techno series.
It’s a six-track EP by various artists, released on vinyl. The record captures the Munich-based
label’s signature aesthetic, where layered depth, organic soundscapes, introspective moods, and
minimalistic rhythms converge into a hypnotic, immersive club experience. Designed for deeper
explorations, TELX001 stands as a bold statement in contemporary Techno from Munich

TRANSMISSIONS #1 connects four distinct Skylax signals into a single flow. Each track comes from a precise moment, a specific context, and a clear dancefloor function. Together, they form a transmission built on movement, use and continuity. A1. F.T.G – Tribute ’89 (Fuckthegovernment #001 Mix) is a raw drum-machine workout positioned between dark Chicago house and late-’89 European techno. Stripped, direct and uncompromising, Tribute ’89 quickly became an underground staple, heavily played by Ricardo Villalobos and Raresh — a foundational Skylax signal. A2. Nick Beringer – 57th Corner, taken from Second Floor (Wax Classic, 2016), is a tech-leaning deep house cut marked by restraint, precision and late-night tension, capturing Beringer at a pivotal point in his long-standing relationship with Skylax. B1. Floorfillers – Love Is Growing delivers a powerful house-disco statement rooted in old-school foundations, where filtered disco loops, raw drum programming and uplifting swing echo the lineage of DJ Sneak, Paul Johnson, early Roulé / Crydamoure-era French touch and classic Chicago jack — a modern floor-driver with timeless intent. B2. Nicolas Aftalion – Rue des Wallons brings deep, soulful house with a strong Kerri Chandler influence; warm chords, chunky drums and emotional weight firmly grounded in early ’90s US garage tradition. Supported by Cinthie, it closes the transmission with groove, balance and purpose. TRANSMISSIONS #1 — built to move, built to last, signals in motion. Four tracks. Four signals. Still moving.

Inner City Sound Archives returns with its second chapter — digging deeper into the forgotten vaults of New York’s underground disco culture.

This new volume brings to light another cache of mysterious acetate recordings: no titles, no credits, just cryptic handwriting, tape hiss, and the unmistakable pulse of a bygone era. Painstakingly transferred and fully remastered through analog processes, these raw and extended cuts preserve the full emotional weight of the original sessions — dusty, physical, and made to move bodies in the dark.

These are tracks that once passed hand-to-hand among a tight circle of selectors, whispered about and played just once or twice at legendary loft parties between 1978 and 1983. Then, silence. Until now. Once championed in the shadows by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, but also by more elusive selectors like Bobby Guttadaro, Michael Cappello, Roy Thode, and Mark Paul Simon — these grooves return to tell their story, the way they were meant to be heard. Each piece is a sonic time capsule — hypnotic, unpolished, and intimate. Pressed loud and with care, for those who still believe in the ritual of vinyl.

Some records are collections of tracks. Others are fragments of a life. I AM A CULT HERO is not a debut. It is a return to origin. Before Skylax Records. Before Los Angeles. Before the architecture of house music became clear. There was Sarcelles. Concrete towers. Invisible youth. Yet a coded multicultural energy where funk, soul, early hip-hop and primitive electronics coexisted before categories existed. Sarcelles was not Compton, but spiritually it was the same frontier.

95200 is not just a postcode. It is the birthplace of Hardrock Striker. 368 was the bus to the train station — the crossing line between isolation and possibility. Each journey toward Paris felt like entering another system. Those nights required discipline. Instinct. Strategy. Music was not distraction. It was structure.

Years later, Los Angeles revealed the hidden architecture behind those early intuitions. House music was not a genre but a living mechanism — built on vinyl culture, extended mixes, dubplates and repetition as language. That system had already been shaped and transmitted by pioneers such as Ron Hardy, Larry Levan, Frankie Knuckles, Electrifying Mojo, Hot Mix 5, Mark Kamins and Ron Murphy. Hardrock Striker did not imitate that language. He internalized it. The tracks on I AM A CULT HERO operate as transmissions.

Gospel For Dancers (95200 Mix / Dub) is vertical — ritual energy, lift and controlled expansion. Dance here is elevation. Erotic Loop (368 Mix / Dub) is horizontal — hypnotic repetition, circular bass motion and gradual immersion. Repetition becomes destination.

95200 and 368 are coordinates. Origin and transit. Memory and motion. Anchor and crossing.

From Sarcelles to Paris to Los Angeles to Skylax & now, back to the source.

This record closes the circle. Hardrock Striker has transformed origin into signal. Signal into structure. Structure into permanence.

A cult hero is not declared. A cult hero is revealed. Vinyl is the only truth.

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

Marking their 51st release, long time label collaborator and friend Owain K returns to 200 with a brand new solo 4 track EP, Kinematic Equations.

Having joined 200 back in 2012 with the “Colonius EP”, a lot has happened in that time. With 50+ releases on the imprint and Owain setting up his own blog and a label under the Innate banner. However, some things remain - mutual friendship, a shared love of underground Electronic music and Kölsch!

15 years on the Welsh rooted, Bristol (UK) based artist delivers some of his best music to date in the shape of the “Kinematic Equations”. A four track journey into astral electronics that weave together his take on deep space sounds, fused with a healthy dose of dubby aesthetics that are close to the label’s heart.

Starting with the rhythmic pulse of ‘Axial Shifts’ on side A, chords steadily arc into life as the intensity rises and falls, all whilst keeping a measured trajectory. Drifting into the ether, ‘Open Cluster’ fills the zone where heavy sub meets filtered percussion to a rounded 909 kick, set with dreamy atmospherics and shimmering delays.

On side B ‘Eta Aquarid’ blazes a powerful trail to machine-like rumbling and evolving pads which burst brightly over the course. Last but not least, the magical aura of ‘Ghost Of Jupiter’ appears - a fusion of glimmering melodies that float over driving bottom end and steady percussion, bringing the EP to a perfect conclusion.

Written and produced by Owain Kimber
Mastered by Emanuel Geller at Salz Mastering

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

On Y-3004, Solitary Dancer wade into the depths of their sonic palette for Y-3's Fall/Winter 2026 Presentation, an occasion marked by the sportswear label's turn into the world of motorsport, unveiling a partnership with Mercedes-AMG Petronas F1 Team. Dark, moody, and measured, the score reflects on the early era of automotive industrialization. Inspired by the factories which captured the sounds of nascent processes operating at their own rhythm, the vast physical potential of the Palais d'Iena allowed the space to further explore such repetition. The composition proved a masterful exercise in tension & restraint, ascending from hypnotic, low-end pulsations to brightly shimmering, metallic delays and a decidedly techno finale.

Marking his vinyl debut on Lowpass, Berlin-based producer APRS steps forward after a run of striking releases on labels such as Soma, ARTS and Sungate.

“Drift” explores human emotions through drums, melodies and textures with five pieces that refuse to settle into one shape. Each track bends the EP in a new direction without breaking its thread, holding onto a sense of vastness, detail and intimacy. Andy Martin closes the record with a remix that widens the palette even further, pushing the material into heavier terrain while keeping its spirit intact.

LWP001 is less a declaration than a first gesture. Intuition over uniformity; a label shaped by instinct, variation and space; a place for artists to wander and for sound to evolve freely.

DJ Support: Gilles Peterson, Osunlade, Lakuti, Sean McCabe, Craig Smith, Marcia Carr + more

JuJu Muzik presents “Counting Clouds,” the newest work from Chicago house pioneer Harry Dennis, whose poetic influence spans over three decades and legendary projects like Jungle Wonz, The IT, and Fingers Inc. Featuring an exceptional lineup of remixers & producers - Rob Redford & Damian Charles with a contemporary soulful rework that nods to classic Chicago, Rude Boy Rupert delivering a broken-beat-infused UK underground twist, Mark Hand with his warm jazz-rooted depth and Julian Garnett offering a signature JuJu Muzik interpretation—the release bridges Chicago’s foundational spirit with today’s global house movement, celebrating the genre’s past, present, and future.

Following standout releases on Tusk Wax and Binh’s Time Passages, Hamburg’s own Difool returns with fresh material for his debut on the mighty Partout Records from Paris.
This new EP continues his exploration of intricate grooves and timeless electronic textures. On A1 duty “Space Monkey Down” is a peak time future rave classic, reminiscent of 1990’s Trance eternals. “Now Hear This” combines classic 808 Electro beats with dreamy pads and a drilling 303 pattern. On the flip “Zone of Avoidance” and “Mosher” both employ broken beats and maximalist sound design for the discerning club-palate. This latest outing is a natural evolution for an artist who has already left his mark on two of the scene’s most respected labels..

With Morocco Palace, Cybercafé aka Adam Dirk’heim delivers his very first full EP on Sequence Records - a record that balances raw energy and melancholy, blending emotional depth with a strong, forward-thinking dancefloor edge.

The EP opens with Electroskit, driven by an electric, almost extraterrestrial voice, before diving into raw electronic textures that set the tone. Dance & Control marks a first shift with its slow tempo, massive modulated synths and stretched tension. Then comes Nightshade, where the energy rises further through a rhythmic and emotional build-up carried by deep, melancholic, yet dancefloor-oriented synth lines.

On the B-side, Don Dolor flirts with instrumental EBM influence, while What Am I Talking About? closes the record with a hypnotic groove that stays with you long after the last note.

Morocco Palace lays the foundations of Cybercafé’s universe: a subtle balance between introspection, intensity, and dancefloor energy.

Vitamin Of The Moon launches as the new label and artistic platform of Toulouse-born, Berlin-based producer Lenny Mailleau, also known as one half of Zendid. The Question marks both its inaugural statement and Lenny’s first release under the new imprint. It is a focused, groove-driven record that moves between house, dub, techno, minimal, and space-disco. The tracks are delivered with quiet confidence, sophistication, and clear dancefloor intent.

The opener, “The Question,” establishes a taut, hypnotic framework. It features crisp 707 drums, syncopated movement, disco-tinged basslines, and a subtle, paranoid tension that relentlessly draws the floor in. “Saturday Déboch” stretches the energy further. It is built for late-night or early-morning moments when time dissolves into rhythm, using dub-inflected textures, highly detailed spatial echoes, and a patient, locomotive four-to-the-floor drive. On the flip, “Schönleinstrasse Caval” sharpens the architecture with stripped-back techno percussion and a rolling, functional pulse, clearly shaped by Mailleau’s time on Berlin floors. Closing the EP, “La Femme” (ft. Ariachi) adds a warmer, more playful and emotive layer by weaving vocal fragments and melodic accents around a minimal-tech core.

With The Question, Lenny Mailleau introduces Vitamin Of The Moon through restraint and clarity — positioning it as an extension of his personal language and refined club sensibility. A first chapter that honours minimalism’s roots while quietly pushing it forward, proving once more that focus, rhythm and atmosphere remain central to imagining contemporary club music.

With Cliknopium I, Dr.Nojoke opens a new 12-inch series marking 20 years of CLIKNO — the artistic concept built entirely on field recordings and found sounds. Since its foundation in 2005, CLIKNO has focused on transforming everyday sonic fragments into electronic microcosms, guided by a strict manifesto: no presets, no templates, no classic machines, and every sound crafted from scratch. This approach has shaped Dr. Nojoke’s unmistakable aesthetic — detailed, tactile, and rhythmically unconventional.

Influenced early on by the click-and-glitch lineage of Villalobos, Jan Jelinek, Akufen, and Alva Noto, Dr. Nojoke has long expanded his palette to include dub-infused basslines, delicate percussions, and hypnotic textures. The result is a body of work he describes as “CLIKNO,” where organic sounds meet electronic precision.

Treguja opens the record with a playful, slightly wonky funk, evoking the atmosphere of a clandestine backyard rave. Gragada shifts into deeper territories, its bird calls and floating chords unfolding like a memory of a vanished paradise. On the B-side, Wesikwa propels the listener into a dreamlike, ritualistic groove, carried by Jew’s harps, murmured voices, and a steady, immersive pulse.

Twenty years after the concept began, CLIKNO remains as vital and imaginative as ever. Cliknopium I is both a celebration of this legacy and the beginning of a new exploratory chapter — an invitation to flip the record and let the trip continue.

Chris Liebing and Charlotte de Witte announce their second-ever collaborative release, 'Symphonie des Seins' (Symphony of Existence). The release, taking in an original alongside a Dub mix from Liebing, follows 2019's 'Liquid Slow' from the pair and marks the second release ahead of Chris Liebing's 'Evolver EP' releasing in late-March.

A surging acid-beast channelling mid-90s techno energy, 'Symphonie des Seins' sees de Witte delivering a tweaky, spoken
vocal comprising the hallucinogen-fuelled diaries of ayahuasca and DMT trip reports that Liebing stumbled upon online. Crisp
but heady, old school but utterly contemporary with its delivery, 'Symphonie des Seins' sees two techno artists with very
di?erent formative eras converge perfectly with a razor-sharp piece of dancefloor mayhem.

Following January's 'Roy Batty' EP, Chris Liebing and Charlotte de Witte's 'Symphonie des Seins' is the last single before Liebing's thirteen-track 'Evolver' LP lands on March 27th. The 'Evolver LP' features additional collaborations with Luke Slater, Speedy J, The Advent, The Alte Stuben Modular Ensemble aka Daniel Miller, Terence Fixmer, and Pascal Gabriel and is Liebing's first solo Techno LP, having focused on long-form electronica output alongside co-writer Ralf Hildenbeutel for 2018's 'Burn Slow' and 2023's 'Another Day' for Mute Records, and the André Walter co-produced 'Evolution' in 2002.

Back To Life EP marks the rebirth of a seasoned artist stepping into a fresh chapter as
Just Marco. This first record in the Bending Body series comes after a long run of
exploration and self-reset, chasing raw honesty and identity built for vinyl-only cuts.
The record links past and present: rough drum work, evocative pads, bright acid lines, all
pressed on wax to echo the moments and people that shaped Marco along the way.
Musically, Back To Life it’s a blend where nothing is forced, where unusual choices and
imperfections are embraced as part of a renewed creative philosophy. It’s a return to the
music life where intuition leads and authenticity sets the tone.
Enjoy.

Dutch DJ/producer Boss Priester has built a name as a producer who operates with a ‘let the music speak’ ethos. Now based in The Hague, he has spent years crafting a distinctive sound that blends elements from minimal, house, and techno, releasing across respected labels including Ba Dum Tish, X-Kalay, Dungeon Meat, and his own BPDUBS imprint. His 2023 ‘Hotel Dijon’ EP on LOCUS marked a notable moment in his journey, having long drawn support from label boss Enzo Siragusa, establishing a connection that now comes full circle with an impressive debut outing on FUSE. Building on the backing of other notable figures such as Fumiya Tanaka and Samuel Deep, reinforcing his meticulous attention to rhythm, texture, and groove, his ‘Respect Yourself’ EP extends his sound further as he delivers four tracks that are impactful, precise, and built to command the dancefloor.

Title track ‘Respect Yourself’ leads the EP with its synth-led, hypnotic groove, as intricate percussion and low-end weight immediately establish a commanding presence shaped for the floor. ‘BP On The Master’ follows with a deep, rolling energy, blending minimal textures and squelchy bass licks with understated melodic flourishes. On the B-side, ‘Future Is Electric’ channels a forward-thinking spirit, layering bright textures over weighty, skippy UKG-influenced driving rhythms, before ‘Flava’ closes things with a hazy yet heavy kinetic groove that perfectly encapsulates Boss’s growing sound.

Vinyl finally here!

The Pieces EP showcases Wraz's versatility across five tracks that blend dubstep with orchestral influences, techno rhythms, and psychedelic sound design.

'Pieces' opens with a cinematic, classical-inspired intro that gradually builds into a dark and evolving bass-heavy journey.

'Tech' follows with a fusion of 4x4 techno and dubstep grooves-minimal yet impactful on a sound system.

'Lurch' brings relentless analog bass pressure and Wraz's signature raw energy, already proven to do serious damage in live sets.

'The Crypt' rounds out the EP with a more introspective feel, featuring shifting synths and hypnotic arpeggios that create a deep, trippy atmosphere.

This release marks a major milestone for the Canadian producer, celebrating his debut on DEEP MEDi.

(Wraz 2025)

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Erstauflage als "Sparkle Starlight Vinyl" 2LP mit Etching auf der vierten Seite. Im technischen Sinne war jedes bisherige Album des französischen Trios SLIFT eine Fantasie - ein Mix aus Genres und Formen, der es der Band ermöglichte, zu improvisieren und so lange zu jammen, bis sie sich scheinbar gemeinsam ins All zu winden schienen. Ihr gefeiertes drittes Album, "Ilion" aus dem Jahr 2024, war eine Science-Fiction-Geschichte, aufgebaut aus 10- bis 13-minütigen explorativen Eskapaden, die oft mit Doom Metal oder Stoner Rock begannen, bevor sie sich frei in glorreiche instrumentale Vergessenheit drehten. Doch mit einer gewissen absichtlichen Ironie heißt SLIFTs viertes Album tatsächlich "Fantasia". Es ist ihr bisher schlankstes und direktestes Album. Es ist auch ihr bisher fesselndstes Album, eine pointierte Saga über die Überwindung internationaler Umbrüche, vorgetragen von einer Band, die mit voller Kraft vorangeht und dabei keine einzige Sekunde verschwendet. Obwohl nur Jean und Bassist Rémi Fossat verwandt sind, ist SLIFT im Grunde eine Band von Brüdern. Mit Schlagzeuger Canek Flores sind sie schon seit der Highschool befreundet, und 2026 markiert ein Jahrzehnt zusammen in diesem Trio. Sie proben mit religiöser Regelmäßigkeit in einem Keller auf dem Land in der Nähe von Toulouse, in dem Jam-Raum, in dem sie schon lange ihrer Vorliebe für langatmige Wunder frönen. Für die Albumaufnahmen zu "Fantasia" überquerten sie die französische Nordgrenze nach Belgien, um in dem riesigen Live-Raum der Daft Studios ein kompaktes Set aus schlanken, agilen und druckvollen Songs aufzunehmen. Die vielfältigen Einflüsse der Band sind offensichtlich: Das Album erinnert an Clutch in voller Wildheit, John Coltrane, Charlie Parker, den sowjetischen Schriftsteller Michail Bulgakow, Pink Floyd und Black Sabbath aus der "Master of Reality"-Ära. Und das klangliche Gewebe wird durch das gekonnte Mixing von Kurt Ballou (Converge, Cave In, High on Fire) unterstützt. Den Songs fehlt es nicht an der Komplexität oder Intensität, die SLIFT zu einem aufstrebenden Star der Heavy-Musik gemacht haben; sie haben einfach neue Wege gefunden, die Komplexität ihrer Vergangenheit in jedes Stück einzuflechten, wie ein Wandteppich, der jedes Mal, wenn man hinschaut, eine neue Ebene offenbart. Damit vermitteln sie eine bestätigende und dringliche Botschaft: Gemeinsam können wir die Zeiten, in denen wir leben, noch immer verändern. Heutzutage ist es furchtbar leicht, sich machtlos zu fühlen. SLIFT setzt sich auf "Fantasia" direkt mit dem modernen Ansturm von Grausamkeit und Absurdität auseinander, sei es die Gleichgültigkeit gegenüber unserem Heimatplaneten oder zueinander. Aber in diesen acht Songs geht es darum, auf eine verborgene Kraft zu vertrauen, um zurückzuschlagen, um an eine Welt zu glauben, in der etwas, das wir noch nicht in Worte fassen oder definieren können, nicht nur einen Weg bietet, den Status quo zu durchbrechen, sondern ihn vielleicht sogar vollständig zu zerstören. SLIFT sind laut, heavy und aggressiv in diesen Hymnen. Sie bereiten sich auf einen Kampf vor, von dem sie glauben, dass wir ihn noch gewinnen können.

GiGi FM is going back to her first love, Jungle. It’s one of the defining genres that shaped her journey into music. The DJ, music producer, dancer and poet is releasing her first jungle EP, Shelter Our Time on her label Sea-rène.



Following her 2025 techno EP Virgo Space Acid, GiGi FM turns inward on these 5 deeply personal, pop-infused liquid drum & bass tracks. It also marks the first time GiGi prominently centers her own lyrics and singing at the emotional core that thread the rhythm and movement of the music.



Written during a period of enforced stillness, the record became a form of transportation to imaginary realms; warm sunsets, liquid horizons and underwater dreamscapes that became portals to spaces where GiGi’s mind could still move freely.



Beyond its warmth, Shelter Our Time became a space of processing. The music acted as a catalyst – transforming experience into rhythm, memory into melody. For GiGi, music has always been a form of therapy, a way to metabolize life in real time. As she puts it, “It’s about learning to hold joy and pain in the same body and choosing to keep dancing anyway.”

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

After a gap of over ten years, the Grammy nominated Jazz Funk band Down To The Bone are back with their groove laden, Acid Jazz tinged new album “This Way Forward”– here on an ultra-limited, special release of a doublepack vinyl album. Bringing together a good groove fueled album of ten original tracks with a diversity of flavours – from Jazz Funk to Soul to Brazilian tinged delights that are sure to get the musical juices flowing. Packed full of the band’s trademark grooves and bringing together multi talented musicians from the past and the present all culminating into a melting-pot of sounds that together represent Down To The Bone’s essential sounds.

The new album also brings together multi-talented vocalists on no less than seven tracks From the exquisite soul talents of Hil Street Soul, who co-wrote the opening soul infused groove track “Get Up And Dance”, to the equally soulful tones of Natasha Watts and then the Brazillian sounds of Guida De Palma. The pulsing horn section of Tim Smart, Ryan Jacob (Bonobo/Alice Russell) and James Arben (Vibration Black Finger/Mulatu Astatke), together with Piers Green on sax solos, along with the driving bass of both Julian Crampton and Jo Phillpotts to the pumping beats of drummer Davide Giovannini (Snowboy/Jazztronic/Da Lata and Pucho/Lisa Stansfield), to the melodic chords of Neil Angilley (Snowboy/Jazzhino/Maceo Parker) and Anders Olinder (PeeWee Ellis/Courtney Pine), to the chugging guitar of Tony Remy( Dave Lee/The Sunburst Band/Incognito/Omar) and Mark Jaimes (Simply Red) plus Gianni Chiarello – and the icing on the cake with percussion from Joe “Bongo” Becket.

All working together to bring a stellar performance on this cracking new release to show that DTTB are a force to be reckoned with both on stage and on the wheels of steel.

Indiana Jones and the Last Crusade original motion picture soundtrack, now available on sand colour vinyl, featuring music composed and conducted by John Williams.

Parallel Universe – Volume 1 marks the latest collaboration between Natacha Atlas and Samy Bishai — a bold reimagining of the musical crossroads between East and West. While its textures echo retro-futurism and electronic lineage, the spirit of the record is unmistakably present-tense — rooted in a boldly contemporary vision of Arabic pop, refracted through experimental production.

First & Last is the debut outing of MC D alongside his partner in rhyme Audio MC. Fresh-faced schoolboy scions of Hijack, The Demon Boyz and Silver Bullet, and peers of the likes of Gunshot, Hardnoise and The Criminal Minds, the pair were taken under the wing of The Powerlords as part of the Powerpack crew (alongside Construction and Trouble), and were given the moniker 2XDEF. Brought to the attention of South London’s fledgling dance label Mendoza Records by producer DJ Fusion, this release would mark the the beginning of a longterm creative partnership between him and MC D, with Mendoza label-mate CSP called in for remix duties. Gritty, explosive and raw, the record stalled at the white label stage with only a handful distributed to radio and club DJs, earning it the status of underground classic. First & Last became exactly that for the short-lived crew.

M.C.’s/How Many Miles? is the follow-up solo single and arrival proper of MC D. With DJ Fusion once again handling production and scratch duties, this extended player is no less uncompromising than its predecessor. Benefitting a full release with the now iconic Mendoza green labels, it cemented the young MC in the annals of UK rap history. MC D (aka Darren James) cut one more record for Mendoza as part of his Silent Eclipse project before moving on to future collaborations with the likes of The Principle (Caveman), Deckwrecka, Rodney P and Skinnyman. M.C.’s/How Many Miles? is ranked amongst Mark McDonald’s Top 100 UK rap records in the essential Megablast book published in 2024.

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships.

Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes.

Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

After his contribution on Various Artists - Part One, label co-founder Markus Suckut is back with his first full EP on Primordial State.

(Remix by Komakino) (2025 Replika)
Ein monumentales Stück deutscher Rave-Kultur kehrt zurück: Mehr als dreißig Jahre nach der Erstveröffentlichung erscheint Joachim Witts „Goldener Raver“ im legendären Komakino Remix als originalgetreue 12“-Vinyl-Replika.
Als der Song 1995 erschien, markierte er die spektakuläre Transformation eines der profiliertesten deutschen Künstler in die Welt des Techno und Trance. Die Frankfurter Formation Komakino verlieh dem Track eine hypnotische Energie, die ihn sofort in die Playlists der großen Clubs katapultierte. Seit Jahren vergriffen und auf dem Zweitmarkt heiß begehrt, schließt diese Neuauflage eine schmerzhafte Lücke in jeder gut sortierten Vinyl-Sammlung. Gepresst auf schwerem schwarzem Vinyl (45rpm) und verpackt in der klassischen Disco-Bag mit Loch und Sticker, atmet dieses Release den Vibe der Neunziger aus jeder Rille.

After a pause since the pandemic, Sol Asylum returns to vinyl with the launch of SA-LTD, our limited white label series. To mark the occasion, we bring back one of our longest-standing artists, Pressure Point, who delivers a split EP that perfectly bridges his sonic worlds.


On one side, Pressure Point explores UK bass-heavy, acid-tinged sounds, while on the other, his alias D:fferent Place serves up modern, groove-driven house, highlighting an artist unafraid to push his own boundaries. We’re back at last, and couldn’t be more thrilled for it to be with the extraordinary talent, Pressure Point.

Originally released in the height of the underground disco revival, The Sounds Of Revolution EP has since become a sought-after modern classic. After years out of circulation — and with original copies now trading hands for €80-100 on the second-hand market — this long-requested EP finally returns to vinyl.

Italian producer Giovanni Damico (aka G-Machine / Ron Juan) delivers four timeless boogie cuts that perfectly bridge vintage Italo, cosmic disco and modern club energy. From the euphoric synth hooks of the title track to the robotic funk of “Italians In A Line”, this EP captures everything that made Damico a staple in DJ bags across Europe.

Carefully reissued for a new generation of selectors, this release is equal parts heritage and dancefloor weapon — essential for fans of Italo, nu-disco, boogie and anyone building a serious disco collection. Expected shipping: End of May/begin of June 26.

Infrequent returns with IF03 — marking the first vinyl release by label founder Robert Istoc under his own name. After years of shaping the scene as Dubtil, he unveils a refined techno direction, staying true to the deep and mysterious essence that defined his sound.