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AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations.

Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.

Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.

2026 Repress

SPEICHER-Ikone und gefeierte Clubmacht KÖLSCH debütiert auf KOMPAKT mit dem Album '1977', einer außergewöhnlichen Sammlung von elektronischen Juwelen, die seine frühen Meisterwerke mit exklusivem neuen Material verzahnt. Hier finden Monument, Irrsinn & Biss unter einem gemeinsamen, kennerhaft austarierten Groove zusammen und bereichern die Erlebniswelten von
Heimtänzern wie Flurhunden... dein neuer bester Freund ist da und es ist eine Platte.

Tatsache: trotz des Namens und unserer wohldokumentierten Vorliebe für Kölner Bier ist KÖLSCH kein Rheinländer und er hat sich auch nicht nach dem Lokalbräu benannt. Selbst weltweit hoch gehandelte Hits und eine Reihe profilträchtiger Live-Auftritte scheinen allerdings nichts daran zu ändern, daß der preisgekrönte dänische Produzent Rune Reilly Kölsch regelmäßig konfuse Fragen nach dem eigenen Namen weggrätschen muß. Und doch könnte er nicht deutlicher werden: man denke an etablierte Flurfavoriten wie OPA, DER ALTE oder SILBERPFEIL... diese Tracktitel beziehen sich samt und sonders auf Runes Erinnerungen an eine Kindheit in Deutschland. Anders gesagt: ja, der heißt wirklich so.

'1977' ist nicht einfach nur entseeltes 'Best Of'-Gemenge: mit brandneuen Eisen wie BASSHUND, BAPPEDECKEL und EISWINTER im Feuer braucht KÖLSCH sich nun wirklich keine Gedanken über die zukünftige Wirkgeschichte seines Werks zu machen. Und dann ist da eine Rillenzirze wie OMA, hoch emotionaler Konterpart zum leicht sardonischen OPA und in jeder Hinsicht ebenso mitreissend wie die kanonische Überballade ALL THAT MATTERS. Für das große Finale schließlich wendet sich Rune an LORELEY, das bestimmende Initialrelease des Projekts und bis heute ein massiver Kracher von eigenem Recht - in der Tat so gewaltig, daß der Schock von gleich zwei weiteren Tracks gepuffert werden muss, dem dramatischen WASSERSCHUTZ und einem trojanischen Pferd namens FELIX. Letzteres sollte ja eigentlich eine Art Outro für das Album sein... doch dann hat jemand den Knopf gedrückt und das transdimensionale Portal erwachte zum Leben.

With a keen sense for intricate arrangements and hypnotic grooves, Mäder's debut on Paradijs Boogie crafts a sonic universe that invites both dreaming and dancing. His productions strike a delicate balance between organic elements and contemporary club aesthetics, always driven by a deep passion for musical innovation.

SNOMIR is the collaboration between Mirko Iobbi and Sabatino Matteucci, blending live musicianship with clubfocused electronic production. The A-side features “Air” and “Fire,” two jazz-driven house tracks where expressive sax lines glide over warm, groove-led rhythms. Organic, fluid and built for movement. On the B-side, “Caveman” shifts into deeper dub techno territory. Hypnotic structures, textured low-end and sax riffs woven directly into the sonic fabric.

The accompanying remix pushes the track further inward — stripped back, immersive and late-night focused.

DJ Support: Adam Auburn, DJ Nova, Norm De Plume (Delusions Of Grandeur), Guy Perryman, Simon 'Palmskin' Richmond, Rocco Rodamaal, Damian Lazarus, Demarkus Lewis, Douglas Arellanes, Craig Smith (Yoruba Affil), Lay-Far, Dr. StrangeDub, Dennis Ruyer, Kono Vidovic, Roberto Rodriguez, Bill Brewster, Chris Read, Richard Earnshaw, Hot Toddy, Handson Family, Dj Pope, Robbie Akbal, Golf Clap, Marques Wyatt, Kiko Navarro, Mr Beatnick, Jamie Jones - Hot Creations, Marcia DaVinyl MC, Mikael Ikalainen/ Dj Lord Fatty, Ian Friday, Mr V, Mathieu Schreyer, Willie Graff, Makossa, Stuart Knight, Timo Maas, Bruce Tantum, Sean Brosnan (Futuredisco), DJ Harri, Vinny Da Vinci, Trevor McNamee, Roger Sanchez, and Dom Servini

PDD are excited to welcome the return of the legendary Winding Road Records. Originally launched in 2002 by Schmoov! and home to releases by cult artists such as Ron Basejam, Hot Toddy, both of Crazy P fame as well Vincenzo, Rhythm Plate, Spirit Catcher and not to mention Lovebirds and their monster hit, I Want You In My Soul. After a hiatus, the label is back with a bang and teaming up once again with Lovebirds for another classic EP.

With CONVENT009, Carebears deliver another quirky and sharply crafted slice of underground house music, joined by Tommy Vicari Jnr for a remix that fits the record’s off-center spirit perfectly. Dry, minimal, playful and built with real club instinct, The Pagemaster sits in that sweet spot where character matters more than obvious effect. Another tasteful and quietly effective tool for those who like their records with personality.

With CT018, Cosmic Tribe introduces a new editorial format within the catalogue: a focused artist EP on Side A, followed by reinterpretations on Side B — establishing a dialogue between original material and alternative rhythmic perspectives.

Alex Gordiy is a Ukrainian producer currently based in the Netherlands. He has been producing and experimenting across various genres, with a strong focus on electro and techno in recent years. In his music, deep and energetic grooves merge with lush synth textures, creating tracks that unfold with a clear narrative intention.

This release contains two original techno tracks from Alex Gordiy and two electro reinterpretations from EC13 and ROI.

On Side B, the material is reinterpreted through electro. ROI and EC13 reshape the originals into sharper, machine-driven versions, shifting the rhythmic emphasis while preserving the core motifs. The result is a contrast between techno’s linear momentum and electro’s syncopated precision.

Two techno originals. Two electro reinterpretations.

Cosmic Tribe · Research & Development in Sound.

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.

Riotvan opens 2026 pulsating with drama in the form of a sad Valentine and a special collaboration: Hard Ton, joined by New York City icon Amy Douglas. “How am I going to fill the hours now?” It’s an emotion we’ve all known; and one we all dread, the raw burning haunting ache, when left alone with ourselves after loss. Hard Ton and Amy take us on a soul scorching journey through hollowed out earlymorning emotions, set to a raw, early-2000s house energy—somewhere between Berlin and New York, without drifting into nostalgia. Adding a layer of raw intimacy is a stripped-back piano interpretation shaped by Hard Ton together with maestro Matteo Baroni, whose freestyle takes became the emotional backbone of this version. From there, the release branches out: Massimiliano Pagliara stretches the original into a deep, slow-burning piece of late-night elegance, while Sylvio B flips the energy entirely, firing it back onto the floor with bold grooves and big-room confidence.

Secret Vault is a new and already essential edit label from what is rumoured to be a group of Far Eastern otakus - a collective term in Japanese for obsessive interests in niche hobbies, in this case, disco. This second drop kicks off with the impossibly joyous and uplifting A-side, with trilling strings that just go up and up and up as the funky drums and elastic male vocals match that energy. Flip it over for an equally euphoric B-side with funky, knotted bass riffs, instrumental grooves and a steamy female vocal. Both are no-brainers for anyone looking to inject big heart into their sets.

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

SAMOH unleashes his new dancefloor weapon, four-track EP ‘Changing Worlds’, out on February 26th, as his debut on Charlotte de Witte’s prestigious KNTXT imprint.

Charlotte de Witte: ‘I have been playing SAMOH’s tracks for quite some time now and I am very happy to welcome him to KNTXT. His acid, techno and trance driven approach to music fits my lane perfectly. There is an energy in his work that feels raw, focused and completely unapologetic. This release in particular has that acidic drive that I love so much. This is powerful club material and I cannot wait to see where it will go.’

Rotterdam’s producer, DJ & live artist SAMOH responds, ‘Releasing this as my first record on KNTXT is an amazing opportunity, and I feel honoured to be able to share my music with so many people and let this sound travel further worldwide.’

‘Changing Worlds’ EP: from the title track’s rampant beat, rattling drums, acid-saturated main theme with euphoric edge, and portentous vocal (‘reality peels away...’) to ‘We Are All Waveforms’ with its psytrancey, insanely acidic builds to banshee pitch over shutter & hiss FX at which point you are indeed ‘entering a non-linear dimension’, you are then a willing victim for ‘Reality Is Gone’ to hammer-drill into the brain and take command of your feet. Final piece ‘Echoes Of Tomorrow’ starts with dystopian chattering percussion and spacey FX, before luring you into a healing euphoric dreamstate with moonstruck, melodic trancey sweetly soaring singing.

’Changing Worlds’ represents my approach to acid techno/trance in its most direct and energetic form.’ SAMOH says.‘I made this EP with three high energy tracks, followed by a more atmospheric closing piece that brings everything together. It’s about a driving motion and intensity, creating moments where dancers can disconnect from everything else and fully give themselves to the music.’

You have been warned. You may as well succumb to acid as voracious as Venusian cloudforms, techno beats galloping over your inhibitions, and trance as bewitching as absinthe for the ears. You’ll be glad you did.

FELT enter 2026 with a newly established sub label for reissues, retrospectives and oddball adjacent non-FELT material under the anagram catch-all LEFT. First on the agenda is a vinyl issue of a modern classical tape by Danish post-hardcore/late 2000s rock guitarist Johan Surrballe Wieth, founding member of the band Iceage (Escho/Dais/Mexican Summer/Matador).

Initially released on a limited cassette edition and plucked from the vast catalogue of the Copenhagen label Posh Isolation, the solo project Health & Safety can be read as composers meditation on anxiety, depression, insomnia and all the damned things they entangle. Wieth moves across the spectrum with dour, deliberate keys, mangled drone fx, barely-there violin scrapes, erratic chimes and whistles and with a knowing pace that feels akin to a guiding hand. We’re unsure if the form of each piece is meant to directly correlate to the drug so referenced but the quiet fever dream atmosphere of the 25 minutes also blurs each piece into a whole.

This quote from Wieth certainly rings true for the highly introspective nature of Health & Safety - “You should be very careful listening to too much music when you're writing an album. It has a tendency to become a little too explicit”

Another 4-track release from People Unpleaser, delivering a blend of spicy and groovy Electro/House with acid vibes a little bit darker than the other releases. Featuring artists from across the globe, each bringing their unique signature to the table, this is a record you’ll surely want to add to your collection

Emerging from a shared love of long-form storytelling and hypnotic groove, Techfui presents a stunning double album from Ada Kaleh and Wareika, a cross-continental dialogue between two singular visions of deep and micro house.
Romanian composer and sound alchemist Ada Kaleh channels his signature world of organic textures, dub-soaked spaces and slowly evolving rhythms, known from his forward-thinking work on R&S, Apollo and his own Ada Kaleh Romania imprint. His part of the productions unfolds like a ritual: subtle, detailed and endlessly spiralling, built for dancers who like to disappear inside the groove.
On the other side, trio Wareika bring their unique blend of live jazz sensibility, meditative dub and electronic body music, honed over years of improvisation and boundary-blurring club performances. Their contributions lean into fluid polyrhythms, elastic basslines and shimmering harmonies, tracks that feel alive, breathing and in constant motion.
The journey is expanded by a heavyweight remix cast: minimal house icon Thomas Melchior, Techfui founder and Bahrain mainstay Salah Sadeq, whose deep house productions are crafted to move both heart and floor, and the elusive studio force DUST. Each rework dials the hypnosis in further, stretching time and space without ever losing the warmth of the original material.
True to Techfuis ethos of bringing family, friends and fresh talent together to create honest, unconventional art, this double album is not just a collection of tracks, but a deep, carefully produced listening experience, timeless deep house and micro house for late nights, early mornings and every hazy moment in between.

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.

Behind the name Pouf Pouf Pantoufle lie six musicians from Nancy, graduates of the Lillebonne music school: Vincent Petit on double bass, Gabriel Lambert on bass, Guillaume Schwab on keyboards, Tom Colombain on trombone, Gaspard Petitnicolas on flute, and Solal Piquand on drums.

In 2022, they founded the APC (Appellation Pantouflarde Contrôlée) association and started organizing concerts at the legendary MJC Lillebonne, often alongside BMM and RPT. Thanks to their eclectic and avant-garde line-ups, these events have become unmissable for fans of hybrid music, electronic curiosities, and off-format performances.

Through a form of free, improvised, and chaotic jazz, the band Pouf Pouf Pantoufle echoes the local scene that they federate. The sextet now presents its first eponymous studio album, a genuine laboratory of improvisation and experimentation with different materials and sound textures, mixing acoustic and electronic elements in an intense and exhilarating jumble.

Bliss Point is proud to welcome the Bogotá born, New York based Matük to the label with Sendero, a collection dripping with life, with lust, with joy in the face of it all.

Birthed from weekend-long studio sessions in the heat of New York summer, Sendero is luscious and visceral party music, crackling with the spontaneous possibility that runs through city streets as temperatures peak, asses throw and emotions run high.

Hailing from Colombia and deeply immersed in the New York underground, Matük’s influences collide into an ecstatic tapestry on Sendero, blending the rich traditions of Afro-Caribbean musics with experimental and club sonics, long the sounds of joy as defiance from deep within the imperial core.

Many paths cross on Sendero. “Ricotta” features vocals from BRAVA, the Basque DJ and MC whose raw, infectious spirit has injected new energy into the international bass and footwork scene. She is joined by Argentinian-Colombian artist FEDRA on synth and vocals, transforming voice notes the trio sung into their phones over a long weekend of dancing into a party anthem of their own. “Lio”, the EP opener, pairs Mexico’s Renn Loop with Matük himself, trading sultry, heated frustrations over latinx futurist production. Things slow down on “De; Dioses y Pantallas”, a yearning, introspective plea to the night sky, before returning to the party with the bouncing, acid-fueled remix of “Ricotta” from Mexico City’s Soos.

Sendero is a snapshot of a scene in motion, a document of serendipity and collaboration, music made in the long tradition of enjoyment as a revolutionary act.

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? With the album SRDNG x LPZG, the duo AMAS, together with double bassist Frithjof-Martin Grabner, delivers a radical answer on May 15th, 2026. The work does not merely translate Bach’s legacy; it consistently reimagines it within the aesthetics of Minimal, Dub-Techno, and Ambient. The creation of this extraordinary abstraction spanned three years and two geographical poles: the raw isolation of Sardinia and the academic precision of Leipzig.

The project found its origin in the seclusion of Pula, at the southernmost tip of Sardinia. There, AMAS extracted and digitally dissected the rhythmic and tonal essence of 14 selected works by Bach. In a temporary local studio, these minimalist sequences fused with field recordings of the surroundings to form a hypnotic framework of electronic structures. Back in Leipzig, this foundation met Frithjof-Martin Grabner. In an intense session held in a hall of the historic HMT Leipzig, spontaneous improvisations emerged that breathe the spirit of Miles Davis’ approach to "Ascenseur pour l’échafaud": free play based on rudimentary sketches, an intuitive reaction to the material—comparable to Davis’ iconic scoring of silent film images. It is a deliberate prioritization of atmosphere over technical perfection. Grabner utilizes the full spectrum of his instrument, creating sounds that, in post-production, often blur the line between analog depth and synthetic texture.

The result is an organic symbiosis: the vastness of Sardinia (SRDNG) meets the intellectual density of Leipzig (LPZG), while the strictness of the Baroque dissolves into the repetitive energy of Minimal Techno. To do justice to this conceptual ambition, the album will be released in an uncompromisingly audiophile edition. Limited to 200 copies worldwide, the double LP is pressed on 180g vinyl and features a front cover with a special 3D effect, continuing the visual tradition of the AMAS series. An album for listeners who understand Bach as a living origin of modern sound art—and for lovers of electronic music seeking a new, organic soul within the repetitive depth of techno.