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Nach ihrer gemeinsamen Interpretation von I See A Darkness mit Perfume Genius kündigt Anna Calvi die neue EP Is This All There Is? an, die am 20. März erscheint. Die vier Songs versammeln Kollaborationen mit Perfume Genius, Iggy Pop, Laurie Anderson und Matt Berninger.

Eröffnet wird die EP von God’s Lonely Man, in dem Calvi Iggy Pop die Stimme eines zerstörerischen inneren Monologs überlässt. Der Song ist von nervöser Energie getragen: kantige Gitarren, antreibende Drums, eine direkte Konfrontation mit emotionaler Stagnation. Pop verkörpert dabei genau jene rohe Präsenz, die Calvi für die Erzählung suchte.

Seht und hört "God´s Lonely Man" HIER.

Is This All There Is? bildet den ersten Teil einer geplanten Trilogie, die Identität als etwas Veränderliches begreift, geformt durch Nähe, Liebe und biografische Brüche. Ausgangspunkt ist Calvis eigene Erfahrung des Mutterwerdens, die ihren Blick auf Sicherheit, Verantwortung und Möglichkeiten verschoben hat. Die EP kreist um grundlegende Fragen moderner Existenz: Wie lässt sich Intimität neu denken? Was bedeutet es, sich wirklich verbunden zu fühlen? Und wann fühlt man sich wach?

Neben dem bereits veröffentlichten I See A Darkness interpretiert Calvi gemeinsam mit Laurie Anderson Kraftwerks Computer Love neu. Mit Andersons Stimme im Zentrum und choralen Arrangements entsteht ein Stück über digitale Nähe und emotionale Distanz. In ihrer Gesamtheit wirkt die EP wie ein zusammenhängender filmischer Bogen – vier Songs, vier Perspektiven, eine fortlaufende Erzählung.
Is This All There Is? versteht Kollaboration nicht als Zusatz, sondern als Strukturprinzip: Die Stimmen der Beteiligten werden zu Figuren innerhalb eines gemeinsamen Klangraums, in dem Fragen offen bleiben dürfen.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

At the core of the creative process behind “HPC” and “Bor3d” lies meta-irony, a quality that permeates much of today’s digital content landscape.

Both tracks are a deliberate attempt to push the sound toward a barely perceptible absurdity and ironic unseriousness in their interpretation of well-familiar styles of dance club music. It is a play with form, expectation, and recognizability — balancing sincerity with sarcastic exaggeration.

Okay
Okay is built around interruption. Voices, fragments of dialogue, yawns, irritation — people seem to step inside the track uninvited. Someone is bored, someone is annoyed, someone tries to stop the flow entirely. Just like in real life, the process is constantly disrupted. The track reflects the experience of being surrounded by opinions, noise, and skepticism — especially the kind that will never be convinced, no matter what you do. “Okay” becomes a quiet, ironic response to this pressure: not agreement, not approval, but endurance. The track continues anyway.

Tripatura
Tripatura is a fictional creature — a warped echo of cryptid mythology. In this narrative, Tripatura doesn’t simply exist, it hunts. Once it finds you, it drags you into an endless trip with no exit point. Time stretches, perception blurs, and the track itself becomes the trap. Its prolonged, unresolved ending mirrors the experience of being stuck inside a loop that refuses closure. Tripatura doesn’t rush. It lingers, slowly pulling you deeper, until the trip no longer feels temporary.

Matt Scottoline - Sänger, Songwriter und Frontmann von Philadelphias bester Indie-Rock-Band, HURRY - ist ein Grübler. Das ist verständlich; wir leben in unruhigen Zeiten, in denen sich die Welt so schnell verändert, dass man kaum noch mithalten kann. Für Matt treffen diese Ängste diesmal jedoch näher an seinem Herzen: die bevorstehende Vaterschaft, ein runder Geburtstag am Horizont und quälende Fragen über seinen Platz in der Musikszene. Braucht die Welt wirklich ein neues Hurry-Album? Nach den zehn Songs zu urteilen, aus denen ,Zoned Out" besteht - Hurrys sechstes Album in voller Länge und das vierte bei Lame-O Records -, lautet die Antwort ein klares Ja. Aufgenommen im The Metal Shop von Ian Farmer und koproduziert von Farmer und Scottoline, zeigt das Album Hurry in Bestform. Erneut unterstützt von Rob DeCarolis am Schlagzeug, Joe DeCarolis am Bass und Justin Fox an der Gitarre, klingt die Band geschlossener denn je - so perfekt aufeinander abgestimmt, dass sich alles mühelos anfühlt. Schon beim Eröffnungstrack ,All Sunk In" mit seinen stampfenden E-Gitarren und der Ohrwurm-Melodie ist der Ton sofort gesetzt. Die Verstärker sind lauter, der Groove strahlt eine selbstbewusste Lässigkeit aus, und Matts Stimme klingt besser denn je. ,Moving After You", das Highlight des Albums, klingt wie der beste Song, den Teenage Fanclub nie aufgenommen hat - was den Gastauftritt von Gerard Love umso perfekter macht. Es ist zeitlose Popmusik, gemacht für diese Zeit.

Knowone! Fully recycled vinyl, recycled cover. 190g. Analog mastering, vinyl only. Manufactured by Matter Of Fact Vinyl - Andre Kronerts own pressing plant.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

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.

Collecting Orders For 2026 Repress

It's safe to say that Mark E is something of a master when it comes to doing a hell of a lot, with not very much at all.
Back in 2011 'Call Me' was heard everywhere, especially the splendid Dixon edit, which teased out the drama and made the most of that spoken Ms Ross vocal.

It's testimony to the staying power of this track, and the fact it's quite rightly regarded as a Deep House classic that it's had a recent revival, largely from Luke Unabomber across his head-spinning summer tour schedule. We started getting video clips from the curious..."Do you know this track, sounds like Carl Craig remixing 51 Days ?"

Given that we sold out the initial run in a matter of days back then, we thought it was high time we put the call in for a reload.
So here you go, the classic 'Call Me' backed with a truly wonderful new jam from Mark, which is another zinger in a catalogue choc full of 'em...

The Jazzcodes and Michele Chiavarini kick off this fine survey of contemporary deep house with 'Wolf Dust (Saison Rework)' which draws on jazz-inflected motifs and feeds them into a steady groove with layered keys sitting over a controlled kick pattern. 'Friday' from DJ Romain works in a more direct frame driven by looping piano stabs and clipped drums with diva vocals injecting heat. 'In The Moment' has an air of cool jazz to it with deft horns and spoken word that muse on the great genre while Saison's 'This Is A House Record' sure is that: classic drums and knotted little synths bring a warming vibe for grown-up floors.

TSTD NEO returns with smooth slow disco remixes for three tracks, originally featured on THE SUNSET MANIFESTO Volume 2:
One of the standout tracks of THE SUNSET MANIFESTO 2, the super smooth Westcoast inspired "Hands of Love" gets an even smoother remix treatment by Liverpools BEN JAMIN, perfectly suited for your next late night bar dj sets.
Stockholm meets Mexico City! TSTD resident producer Monsieur Van Pratt returns from remixing Poolside on The Sunset Manifesto 2, and comes back with a romantic slow disco version of Kimchi's "Do You Ever"
Last but not least UK producer Matt Hughes already did a funky electro disco remix for Goodvibes Sounds' "Stay For One More Night" on The Sunset Manifesto 2. Looks like the original tune didnt leave his head, so he returned to his studio for new remixes. Here you can find the "Echo" version of his new 80s cinema sounding "Late Night Radio Remix", which would sit well in the soundtrack oft he Stranger Things TV series. The long version of this remix will be relased later digtially.

Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.

Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.

The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.

On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.

The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Pennyroyal – PYRY05

Tearoom Vibes Vol. 2 (Various Artists)

Pennyroyal returns with its fifth vinyl release, PYRY05, presenting Tearoom Vibes Vol. 2. A Various Artists compilation focused on electro, techno and cosmic-leaning club tracks, built for late-night and after-hours settings.
Featuring Mama (Exarde, Griffe), Bruno (22 Recordings), rising Egyptian artist Saharty, Thomas (Rebvs, debut release) and Gianluca Pellerano (CMDRPX). A tight and functional VA with a clear underground attitude.

Incredible new production from TERRANCE MCDONALD following up his MIND OVER MATTER reissue. This blend of Chicago House and Detroit Techno is guaranteed to take over dance floors across the Globe. No wild BPMs here just the right vibe, sound, and feeling.

,Crusher", das Debütalbum von Sooj - einem Gemeinschaftsprojekt von Mitgliedern von Duster und Dirty Art Club. Die Platte taucht völlig unerwartet auf, wie eine schwach beleuchtete Übertragung von irgendwo zwischen Portland, Charlotte und Santa Cruz. Crusher knüpft dort an, wo ihre 2024er-Doppel-A-Seite ,Anhedonia II / Ecstasy Cowgirl" aufgehört hat, und lässt den Slowcore von Duster in die sample-lastige, collageartige Produktion von Dirty Art Club übergehen. Das Ergebnis ist weder eine Band noch ein Nebenprojekt, sondern etwas schwerer Fassbares - ein dritter Raum, erbaut aus Bandrauschen, zerhackten Erinnerungen und nächtlichen Signalüberläufen. Während seiner gesamten Laufzeit entzieht sich das Album der Anziehungskraft der Nostalgie. Stattdessen schwebt es in einer liminalen Gegenwart - teils Zusammenarbeit, teils Fluchtweg. Sooj, gegründet von Clay Parton, Canaan Amber und Matt Cagle, entstand aus einer Tour-Freundschaft, die sich allmählich zu etwas Dauerhafterem entwickelte. Frühe Gespräche führten zu gemeinsamen Sessions, wobei Cagle von North Carolina nach Portland reiste, wo schließlich der Großteil von ,Crusher" Gestalt annahm. ,Musik zu machen ist manchmal eine seltsame, ätherische Sache", erklären Sooj. ,Es kann so zerbrechlich sein, so flüchtig. So eine Art Höhepunkt eines bestimmten Moments und des gesamten Weges davor, plus all die zusätzlichen Dinge, die sich kosmisch einmischen können."

,Crusher", das Debütalbum von Sooj - einem Gemeinschaftsprojekt von Mitgliedern von Duster und Dirty Art Club. Die Platte taucht völlig unerwartet auf, wie eine schwach beleuchtete Übertragung von irgendwo zwischen Portland, Charlotte und Santa Cruz. Crusher knüpft dort an, wo ihre 2024er-Doppel-A-Seite ,Anhedonia II / Ecstasy Cowgirl" aufgehört hat, und lässt den Slowcore von Duster in die sample-lastige, collageartige Produktion von Dirty Art Club übergehen. Das Ergebnis ist weder eine Band noch ein Nebenprojekt, sondern etwas schwerer Fassbares - ein dritter Raum, erbaut aus Bandrauschen, zerhackten Erinnerungen und nächtlichen Signalüberläufen. Während seiner gesamten Laufzeit entzieht sich das Album der Anziehungskraft der Nostalgie. Stattdessen schwebt es in einer liminalen Gegenwart - teils Zusammenarbeit, teils Fluchtweg. Sooj, gegründet von Clay Parton, Canaan Amber und Matt Cagle, entstand aus einer Tour-Freundschaft, die sich allmählich zu etwas Dauerhafterem entwickelte. Frühe Gespräche führten zu gemeinsamen Sessions, wobei Cagle von North Carolina nach Portland reiste, wo schließlich der Großteil von ,Crusher" Gestalt annahm. ,Musik zu machen ist manchmal eine seltsame, ätherische Sache", erklären Sooj. ,Es kann so zerbrechlich sein, so flüchtig. So eine Art Höhepunkt eines bestimmten Moments und des gesamten Weges davor, plus all die zusätzlichen Dinge, die sich kosmisch einmischen können."

Dark Entries returns to the steam room with Coatshek’s Sound Bath. For their SoundBaths series, now-defunct poppers brand Double Scorpio commissioned artists to make mixes for an imaginary queer bathhouse. When asked to contribute, San Francisco-based artist Coatshek aka Sheki Cicelsky took the opportunity to create original compositions. The resulting album, Sound Bath, serves as a masterclass in slow and sultry ambient techno. Taking inspiration from Pink Floyd, Manuel Göttsching’s E2-E4, and his friend’s DJ mixes (particularly Nick Moss and Matthew Paul’s for “Por Detroit”), Coatshek landed on 107 bpm as the optimal speed for sauna sex. With just a few synths, his Telecaster, and “lots of delays, reverb, and weed,” he sculpted stunning cuts like the effortlessly grooving “Softest” and the psych-laced “Triple Virgo.” The cover for Sound Bath was designed by Coatshek’s fiancé Nate Sprecher, and features photographs by Luke Kraman taken at The Ever Afters campout. The album also includes an insert featuring the Double Scorpio SoundBaths series artwork by Blake Wright. Equally hypnogogic and sexually supercharged, Sound Bath situates the bathhouse as a liminal dreamspace of unbounded erotic potentiality.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

InDepth Imprint launches its debut release with a forward-thinking V.A. bringing together UFO95, Hadone, Raar, Initial Code and Clara D. The label focuses on bridging avant-garde sound exploration with club-driven functionality. This first release is built on audio material recorded during a collaborative residency at Willem Twee Studios, using its unique collection of mid-20th-century scientific instruments repurposed for music. Each artist was invited to explore their own creative path, resulting in a highly distinctive record where experimental textures meet precision-engineered techno. The outcome is a coherent yet diverse sonic statement that sets the artistic direction for InDepth Imprint: immersive, concept-driven and deeply connected to contemporary club culture.

Presenting the third thematic volume on the “Aquapelagos" series - a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities. After the initial release of the Anthology compilation Aquapelago in 2022 (Discrepant ,CREP91) and the split LP Atlantico by Lagoss & Banha da Cobra (Keroxen, KRXN027) as well as the direct collaboration LP Índico by Mike Cooper & Pierre Bastien we proudly introduce an the third volume in the series in the shape of no other than two inspiring artists, Vica Pacheco and Pak Yan Lau. Two different sound journeys inspired by the majestic and peaceful Pacific Ocean, the vastest, largest and deepest ocean of our planet.

Vica Pacheco’s composition takes a calm meditation approach where water flutes and synths brush shoulders to create a ever expanding mind journey whereas Pak Yan Lau’s ambitions Neo classical piece, The Ocean in Us, talks about that grand overwhelming feeling, that vast space deep under, on the bottom of the Pacific. Both compositions were recorded and created with the particular wet acoustics of the Tank in Santa Cruz de Tenerife in mind.

From Philip Hayward and Matt Hill’s liner notes: ‘’The Pacific is a complex space, comprising a third of the Earth’s surface. A cascade of islands runs along its eastern flank, down from the Kamchatka peninsula, through Japan, Taiwan, The Philippines, Melanesia and on to Australasia. In its watery heart the islands of Micronesia and Polynesia stretch across huge distances, north-east to the Hawaiian archipelago, south east to Rapa Nui and south west to Aotearoa and Chatham island. Closer to the shores of the Americas lie Tierra del Fuego, the Galapagos Islands, Haida Gwaii and the Aleutians. This is a space that resists easy characterisation. The Pacific laps the shores of Japan and Chile, the beaches of Australia’s East Coast and the cold, damp coasts of British Colombia and Alaska alike. Indeed, the space is so vast that it is a world in itself and one rarely navigated in its entirety. In this manner, strands of genres and the songs that reflect them are components in an intricate mesh of associations.‘’ Philip Hayward and Matt Hill, April 2022

Tapper Zukies 'Peace in the Ghetto' album would be the first release as part of his new deal with Virgin Records.This came about through a trip organised by the label to Jamaica in 1978 to sign up the cream of the crop of Reggae artists,for the new Virgin Front Line label.
Personnel on this trip included John Lydon (Rotten) of the Sex Pistols ,whose band had just split up.
The Peace in the Ghetto album deals with the political situation in at the time,the peace initiative between the gangs and Political Parties.
Paying tribute to some of the gang leaders Claudie Massop ,Buckie Thompson and Tony Welsh who helped make this process happen.
But whatever the subject matter Tapper Zukie chose to hang his songs on,you know he always does it in a fine style......Respect

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."

The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."

Well know from the parties here they are with a first vinyl release: Hardcore Heroes

With Dark Matter EP, Rambal Cochet continues his exploration of the fringes of electronic music, where ritual, cosmic and hypnotic sounds create a soundscape between mysticism and science fiction. The EP moves naturally between rhythms, atmospheres and synthetic lines from a lost rave futurism.

Each track has its own journey in a single narrative, with deep bass, percussive patterns oscillating between trance, downtempo and global influences, and a melodic sensibility that is both distinctive and accessible.

Dark Matter EP is a work that celebrates the visionary and cinematic side of Rambal Cochet, mixing mystery, spirituality and club pulsation for the dance floor and listener.
Perfect for seeking emotional intensity and imagination, or for an immersive, timeless listening experience.

Night Prologue POW001
Panthers on Wax kicks off its catalogue with Night Prologue, a VA that dives head-first into the night from the dark pulse of the club to its most intimate afterglow.
Bringing together four defining voices of the contemporary French underground, the release unfolds like a nocturnal tale in two acts.

Side A hits with two floor-focused weapons:
P.O ignites LA VOITURE DE LA POLICE, a raw mechanical surge « It doesn't matter who did it as long as it burns. »
N2O pushes deeper with DISTO PIA, where distortion fractures, breathes, and rebuilds « Darkness dances, the heart cracks, and the night puts its pieces back together. »

Side B shifts into emotional territory:
PAGENTY delivers LE VENT CHUCHOTE TON NOM, a nostalgic synth drift « The nights are endless oceans in which I search for you. »
LORYN wraps the record with GINI, a glowing synthwave shimmer « More than a soda, Gini holds a forever echo »
From new beat and electro to techno and synthwave, Night Prologue carves out the Panthers on Wax identity, nocturnal, hybrid, and driven by narrative.

Joe Chambers ist ein US-amerikanischer Jazz-Schlagzeuger, Pianist, Vibraphonist und Komponist. In den 1960er- und 1970er-Jahren spielte Chambers mit vielen namhaften Künstlern wie Eric Dolphy, Charles Mingus, Wayne Shorter und Chick Corea zusammen und wirkte an mehreren legendären Blue-Note-Alben der 1960er-Jahre mit. Double Exposure, ursprünglich 1978 bei Muse Records veröffentlicht, ist eine seltene und genreübergreifende Session, die zwei visionäre Musiker in einem sehr persönlichen, experimentellen Rahmen zusammenbringt. Der Schlagzeuger und Komponist Joe Chambers wird von Larry Young begleitet, einem wegweisenden Jazzorganisten, dessen modale und avantgardistische Neigungen Tony Williams' Lifetime und Miles Davis' Bitches Brew-Ära mitprägten. Remastered & Cut AAA direkt von den originalen Analogbändern durch Matthew Lutthans bei The Mastering Lab. Gepresst auf 180g-Vinyl und verpackt in Stoughton Old Style® Tip-On Jackets. Enthält ein Insert mit neu verfassten Liner Notes von Bill Milkowski und Barney Fields sowie seltenen Fotos von Jan Persson und Raymond Ross.

Rhiza Semar presents its fourth chapter with Yildizlara, a four-track odyssey shaped from shadow, rhythm, and elemental texture. Crafted as both visceral tools and introspective journeys, the record navigates between ominous density and luminous release, guided by a deep awareness of space, myth, and matter. As an artist, Hitam paves the way for a new sound emerging from his burrows to build bridges between electronic subgenres while shaping a landscape unmistakably his own. Orb Weaver opens the cycle with jagged IDM rhythms that coil and release like threads of a web pulled taut. Originally composed for the graduation project of fashion designer Tim van der Plas, who's collection was inspired on climbing out of depression, its atmosphere is dark and ceremonial, with textures scraping against silence until catharsis emerges from the tension. A confrontation between inner turmoil and release. On Vanishing of the Anasazi, cavernous reverbs carry traces of lost structures, percussion echoing as if across ruins. A relentless drive holds the ghost of ritual processions, summoning a spectral energy that feels at once monumental and hollowed-out. The track suspends itself between presence and absence, architecture and collapse, leaving the listener in a space where echoes become the only surviving form of memory. Mesh Grip plunges downward into subterranean force. A thundering groove rumbles like minerals being unearthed, goblin-like figures at work in hidden shafts, chiseling away at stone in endless rhythm. From this pressure, a sudden swell of melancholy pads rises, reframing the heaviness with emotional resonance as if the whispers of angelic guardians seep into the caverns, transforming extraction into elegy. What begins as pure drive of endurance evolves into an introspective meditation. Closing the release, Yildizlara unfolds as an epic ascent. Layered rhythms rush forward with urgency, intricate yet propulsive, while chopped vocals bring back a sensual human element, scattering like signals across the night sky. Animalistic atmospheres dart through the mix as spectral cries and furtive movements, adding a primal dimension to the drive. What begins as erratic and untamed slowly converges into warmth and ultimate catharsis: a cosmic tale inscribed in sound, both intimate and monumental, familiar yet born of hidden memory. Yildizlara is both innovative and ancestral; a release where turbulence becomes ritual, and where rhythmic complexity unearths fragments of hidden memory. Beneath its dark and erratic surfaces lies a strange familiarity, like echoes of a primal past resurfacing through sound, reminding us of worlds once known but long concealed. Words by A. Veyra

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album. Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets.

A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts. With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice. Momoko was produced by Momoko Gill, recorded at Total Refreshment Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.

Third release on the Lava On Wax label, as usual bringing back to life forgotten gems from back in the day. Since many years Matteo Fava, label's founder, has been digging old records in the Caribbean, especially Trinidad & Tobago and Barbados. During one of his last trip he managed to meet the band members of Rebellions, a very obscure band that only recorded two singles. One of the two singles they made is the ultra rare Funky Rainbow/Disco Soca Song. Despite the record being pressed in Barbados, each musician from the band is from Trinidad & Tobago. Heavy hitting funky Disco with a psychedelic touch, resulting in a sexy, explosive, musical experience.

Label welcomes Tunisian-based artist Ahmet Mecnun to the label for the first time with open arms and with sincere hope it is not the last due to high level admiration for his artistic output. Ahmet has crafted M.E.S.S.A with dark flavour oozing throughout the EP that has unified the audio trips together in a complete story. The remix duties of the A-side track have been taken by none other than Uruguayan mastermind Marcos Coya who has provided his take on this matter and has done it flawlessly so. The synergy between the two artists from different backgrounds and cultures but same ideology of music has resulted in M.E.S.S.A to take the shape it has now. The dark times are coming so it is best to go into the loop state of mind to avoid or to welcome psycho override depends on the mood and current feeling one might be going through.

Svogue label delivers its fourth vinyl only reference with a brilliant and versatile
journey into breaks, house, dub and a touch of electro.
No peak time or standing out tracks this time but solid underground clubbing cuts,
fully shaped through a completely analog path and fashioned with attention to details.
Matteo showcases once again his vision serving an immersive listening experience
via a nimble blend of slapping drums, dreamy synths, warm grooves and emotional
strains.