Suche:me first

Tenuous Links welcomes Torino’s very own VIOLA to the label with his new ‘Wrinkles’ EP. As the label owner of Reflue Records, VIOLA first caught my attention with his debut full-length release, a body of work that showcased a deep, rugged sound and a clear technical prowess shaped by his surroundings rugged coastlines and industrial landscapes of Torino in northern Italy. After speaking with Cristiano for over a year, it felt like a natural progression to bring his music to Tenuous Links. “The music I write almost always functions as a visceral soundtrack to whatever environment surrounds and infects me while I'm creating. Deeply rooted in the architectural contrasts of the places I’ve inhabited.”

‘Wrinkles’ is VIOLA’s second full-length body of work, yet the years of graft and dedication behind it are immediately apparent. Across three original tracks and a remix from London’s Jay Duncan, the EP delivers pure grit and crunch, inhabiting large, cavernous atmospheres grounded by pummelling bass, dynamic drums and intricate rhythmic detail.

The title track ‘Wrinkles’ is an ode to club spaces and the scene that revolves around them. Its broken rhythm channels the dancefloors of Cristiano’s formative years, spent partying in abandoned bunkers and warehouses in and around Torino. VIOLA explains: “Crafting such a raw, gritty bassline felt like an absolute necessity during the writing process, retracing memories of long nights spent dancing in silence.” The track’s cavernous atmosphere mirrors those pitch-black, unlit spaces, drawing us deeper and deeper into the abyss, with only brief glimmers of light offering reprieve from its relentless, all-enveloping bassline.

‘Mon Tom’ draws heavily from VIOLA’s hometown and his complicated relationship with Torino ,a city where tranquillity and beauty sit alongside heavy industry. The calm of the coastline is violently interrupted by vast steelworks and plumes of black smoke, leaving an imposing industrial mark on both the landscape and its people. The track reflects these contrasts. Metallic yet fluid, it moves at a faster pace, built around a driving 4/4 rhythm designed to suspend the listener while skittering percussion creates an increasingly uneasy sense of movement. It’s a meeting point between the beauty and brutality of the environment that inspired it.

‘P Maggiore’ was written between 2019 and 2020 while VIOLA was living in Rome’s chaotic Porta Maggiore district. Surrounded day and night by the grinding noise of trains, screeching tram brakes and beaten metal, he translated those raw auditory memories directly into high-pressure sound design. Yet, in contrast to the intensity of his surroundings, VIOLA deliberately pulls back the tempo.

Rounding off the EP is a skeletal remix of ‘Wrinkles’ from London’s Jay Duncan. She strips the original back into a techy, rolling cut, retaining its atmosphere and darkness while introducing a lighter touch of minimal-esque sound design. The result is a subtly transformed take on the title track that provides a fitting conclusion to the EP.

‘Wrinkles’ EP is a record shaped by place, by architecture, industry, memory and the physical spaces that leave their mark on us. From Torino’s industrial coastline to the chaos of Rome and the darkness of abandoned club spaces, VIOLA turns his surroundings into sound. Coming to vinyl and digital October 16th of October.

Label head Len Faki joins forces with Icelandic dub techno pioneer Exos for Infinity In Loop, a joint exploration into cavernous depths and shifting tonal landscapes.
Two versions of the title track fill the entire A-side, each unfolding with patient intent. Drifting across icy atmospheres and static hums, Infinity In Loop’s first incarnation slowly builds into a mesmerizing, minimalistic loop—punctuated by delicate percussion and a faint, comforting sprinkle of melodic warmth amidst the arctic chill. The second iteration leans more into a classic 90s dub techno framework, launching straight into a steady pulse anchored by echoing chord pairs and crisp, high-energy percussion.
On the B-side, the duo shifts towards raw, dancefloor-driven territory. Aurora delivers impressive tension with dry, jacking rhythms, snappy percussion, and haunting vocal fragments cut up to drive the groove forward. Closing out the EP, Circuit Flux pairs sub-heavy low-end with unpredictable rave energy. Nostalgic 90s vocal cues, pitched-up hooks, and fidgety FX swell and recede over staunch synths—creating a dynamic, deeply layered track that constantly shifts between space and peak-time momentum.

Injury Reserve was originally a trio, consisting of rappers Ritchie With a T and Stepa J. Groggs and producer Parker Corey. Their mixtapes Live From The Dentist (released in 2015) and Floss (2016) earned them underground buzz, and they capitalized on the attention with their debut album in 2019, the eponymous Injury Reserve.

The group's momentum was put on hold when in June of 2020 Groggs tragically passed away. By the Time I Get to Phoenix was largely completed ahead of Groggs' passing with his contributions, and will be the first Injury Reserve music to be released since their eponymous debut album. Ritchie and Corey took the past year to complete the record, and the title has meaning past simply referencing Injury Reserve's hometown. It's an homage to a song that has been covered countless times, which is in line with Injury Reserve's ethos and approach when it comes to creating music. The group pulls from several styles and eras of hip hop, but runs each one through the Injury Reserve lens, putting their own distinct and cohesive sound across their references. Nowhere is that dynamic more present than on By the Time I Get to Phoenix.

Yesca is back on Shall Not Fade with ‘Paint on Walls’ 12” EP.

2024’s Yesca EP on SNF - “Mood Loops” - set a high bar, so when we say this record is something special you should take note. Of course if you already know Yesca’s music or have had the pleasure of a Yesca DJ set then you will have already this queued up.

Sweet Spot: Ben Sims, Deetron, Oliver Ho, Vince Watson, Grain (Artwork’s Techno alias). Planet-E, Primate Recordings, Paul Mac & Stimulus Recordings found the sweet spot.

According to the OED the first use of the phrase “Sweet Spot” was in 1976 in reference to tennis rackets and golf swings. It’s where everything hits just right. And that’s what this EP does, hits just right. What strikes me is how descriptive the phrase ‘Sweet Spot’ is. Given enough swings and some luck we all know what it feels like to hit the sweet spot in some regard. Finding the sweet spot regularly though takes time and skill. But being able to hit the sweet spot by design every time, well that’s something different. That’s what makes the greats great.

For us at SNF there’s a consensus that in the lineage of electronic music there have been many moments where artists & labels converged on a sweet spot. One such sweet spot for us is in Techno
around 2003 when at the tail end of Hardgroove tempos began to slow and a groovier more refined tech house infused goodness appeared in the racks from a group of killer techno labels & artists (some mentioned above) that moment before the fuller emergence of the 2nd wave of Tech House in the mid 00’s.

That sound, while often emulated, never quite hit the same for us at least – until Yesca came along. His music has everything that we love about that sweet spot. Raw driving groove, rolling basslines and hip shaking percussion. What’s different on ‘Paint on Walls’ is that Yesca stepped on - he had already found the sweet spot on 2024’s Mood Loop EP - now his sound (or swing) is natural. Repeatable, refined and seemingly effortless. To revisit the tennis and golf analogy, this is the start of a Grand Slam run from an artist ready to etch their name in dance music history. Tiger..... Serena......Yesca.

Run the Tracks:
‘How I Do It (They Wonder)’ - A masterclass in less is more, and a serious DJ tool. Full of groove - slow it down and it will light the touchpaper in a house set - speed it up and you’ve got techno weaponry. Forget gatekeeping, this will make you feel like you just found a 2004 techno white label from the likes of Grain or Ben Sims.

‘I Desire’ - House music that I reckon Deetron would be proud of... Blissed out machine funk, whispered vocals, slick jazzy chords and dubbed out techno stabs are all grounded by Yesca’s impeccable, loopy drum programming. The best tunes always end too soon.

‘Domination’ - The ever rising bass, err, dominates this track and this track will dominate on many a dancefloor, but Yesca's knack for dubbed out swinging synth lines has to get a shout out here too. He turns what would be melodic elements into what feels like part of the percussion. Double Threat. Hands Up and Heads Down business.

‘Paint on Walls’ - It would be a tough call to say Yesca’s saved the best til last with the EP’s eponymous track given what’s come before, but Paint On Walls works all the highlights from the rest of the EP into a latin techno/house infused anthem. Skittering percussion, a hint of Detroit goodness and a deep deep rolling bassline and THAT vocal. In every way hopeful yet resistant, and that is what techno is all about.

2026 Repress

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

After decades contributing to records where a single riff could transform a dancefloor, Charlie May turns that instinct inward on Trusted Farms.
For over thirty years, Charlie has occupied a position that seems increasingly rare in electronic music: the musician’s musician, the person behind the machines, the extra pair of hands in the studio, and quite often, the person responsible for the melody you end up carrying around in your head for weeks on end. 
Alongside Duncan Forbes as Spooky, Charlie helped shape some of the most important electronic music to emerge from the UK in the early ’90s. That partnership would also sow the seeds for one of Sasha’s defining records: the central riff behind Xpander began life in Spooky’s live material, before Charlie brought the idea into the studio with Sasha and helped transform it into one of electronic music’s most enduring anthems.
Listen closely to Charlie’s work and there’s a particular instinct that keeps returning: knowing when a simple synth line is enough. Knowing which note needs to change. Knowing when repetition stops being repetition and starts becoming the entire reason a track works. More recently, as one-third of Quiet Places on ASIP, he’s taken those same instincts somewhere looser — beatless, gridless and led by improvisation.
Trusted Farms puts those instincts front and centre.
Tiny melodic phrases appear and refuse to leave. Synth lines repeat just long enough to become lodged in your head. Parts rub against each other without being tidied into submission. There’s a sharpness and directness to it all amongst the purposeful analogue warmth.
Some of these tracks feel almost ridiculously simple at first. But simplicity is difficult when you’ve spent decades learning every possible way to complicate something. Many of the parts on Trusted Farms were performed live with minimal editing. A synth line might be doubled, distorted, re-recorded and pushed back through another piece of equipment, but it remains the same idea. Instead of filling the gaps, Charlie works on the weight and character of what is already there. The melodies become physical; slightly worn around the edges.
For someone whose fingerprints can be found across some genuinely monumental moments in electronic music, Charlie has spent decades knowing what to add. 
Trusted Farms is about knowing exactly what to leave alone.
Available on black 12”, mastered by Andreas Lupo LOOP-O Lubich and featuring artwork by Peter Skwiot Smith,

The Crystal Teardrop's first album, THE CRYSTAL TEARDROP IS FORMING, came out on Rise Above Records' subsidiary Popclaw in May 2025. Steeped in classic psychedelic guitar pop and the Paisley Underground scene, not to mention the broader 60s cultural aesthetic, it has made them firm favourites with audiences in the UK and Europe. Now, barely a year later, comes its infectious follow-up, LOVE YOU MORE, also on Popclaw. The songs on LOVE YOU MORE are fundamentally upbeat, but there are hard edges, both musically (check out the guitar solo on It's Too Late!) and lyrically.

2026 Repress

Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.

'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'

Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.

Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.

Rebolledo is back. And this time, he's bringing his own label: Rated R. What began as a party series — with chapters like Rated R and Wax Upon A Time — now mutates into a record label. Long overdue, if you ask us. Surrounded by talented friends from all corners of the globe, this is the new home for bringing everything back into focus. And yes, on wax too.
Naturally. For the first release, we're kicking things off with something equally overdue: Rub N Tug are back. The track? A certified underground wanderer. Loved, played, and passed around dance floors worldwide for well over a decade, yet somehow never properly released. Or maybe it was. Sort of. It's complicated. Now it returns with a remix of a remix, giving the whole thing a fresh coat of cosmic polish. As if that wasn't enough, Paulor takes things one step further with a particularly special jam of his own. Which means we're now dealing with a remix of a remix of a remix.

Confusing? Maybe.
Necessary? Absolutely.
Makes perfect sense to us.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Sekouba Bambino’s ‘Sebema’ first time on vinyl (previously CD / cassette only) with edit treatment from frequent collaborators Pete Blaker & Dionisos on the A-side and the original on the flip.

Originally released in 2004 by the Guinean multi-instrumentalist and singer-songwriter, this cut was taken from his Ambiance Ballon album. Real name Sékouba Diabaté, he was previously a member of Bembeya Jazz National, who are regarded as one of the most significant jazz groups to emerge from Guinea as well as joining Africando All Stars in the late 90’s. Bambino went on to pursue a solo career and released projects throughout the early 2000’s on Syllart Productions.

The edit by Pete Blaker and Dionisos overdubs sound effects, additional percussion and guitar licks to build tension throughout the track and emphasises that hypnotic chorus.

Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.

This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:

“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”

The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.

The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.

But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.

The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.

As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.

Wewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita-the visionary behind the cult album First Light -the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4p booklet with a new introduction by Paul Bowler.

Pressed onto a deep summer orange 12", accompanied by sky-blue outer packaging reminiscent of Netsky's 'Second Nature' LP - this is an unmissable collectible of Hospital Records history.
With Memory Lane being one of the tracks to first ascertain Netsky's legendary status, to 'Everybody Loves The Sunshine' becoming a household D&B anthem - this 12"" is a glimpse into the cross-generational success of one of Hospital's earliest signings.

Recently hailed by The Guardian as "British techno's great survivor," Nigeria-born, UK-based Ibrahim Alfa Jnr continues with the fine form shown on his recent Infinite Black Inside LP with this first EP on his newly minted label Infinite Black Audio. The music was made after the end of a time of bad health, which means there is a feeling of both relief and reflection here. The nameless tracks are all overtly technological in their DNA - spanned synths warp around mechanical kicks on the opener as detuned jazz keys tumble through the mix. ''Track 2' floats on skittish breakbeats, there's moody downtempo on 'Track 4' melodically-inspired hope on 'Track 6.' An adventurous and rewarding EP.

Lucid Dream Records is proud to announce its very first release: a reissue of four tracks by German producer Trancefeld, originally released on Sunset Recordings and CTM in the early 2000s. Years after their initial release, these productions still sound remarkably fresh on today’s dancefloors. Pure Fiction and Arcade showcase Trancefeld's tight programming, pairing hypnotic rhythms with progressive and trippy influences. On the flip side,
Seaquence explores deeper and more melodic territory before Outroduction closes off the EP with a richly textured and contemplative downtempo cut. Even today, these recordings remain difficult to place within a single category and together showcase the versatility and timeless quality of Trancefeld's musical output

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space.

All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger.

There’s a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the album’s final form, with beautiful mixing work between Kenzo and Chris Botta.

With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love".

The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of click’n’cut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SG’s soft vocals rising in the ether.

The presence and inspiration of the sound system is obvious in all of Kenzo’s work, the music can rattle when spun up louder or blended into the club. But K Wata’s uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.



Written and produced by K Wata.

Mixed by K Wata and Christopher Botta at Fer Sound Studio.

Vocals on “Give You Space” and “Go” by SG.

Clarinet on “Radio Embrace” by Eugene Lai.

Mastered and cut by Mike Grinser at Manmade.

Art by S. Gong

Raw Disco Traxx Vol. 001 is the second release on Complejo Records and the label’s first Various Artists compilation, born directly from Raw Disco, our series of parties in Bogotá. Five tracks bringing to vinyl the music played at these nights and the sound we have built on the dancefloor.

From the melancholy of Darkwave to the energy of Acid and Techno, from the roots of Post Punk to futuristic EBM, the compilation brings together Delectro feat. D TRON X, Alpha Sect, CIERŃ remixed by Neu-Romancer, Delectro & Munsinger, and Asymetric80.

If you don't know 'Clouds' then, quite naturally, you'd have to be living underground. The work of Venetian composer Gigi Masin went mostly ignored until Music From Memory's early-2010s reissue campaign pulled him and his ingenious ambient works out of the murk, among which many salvages include his now calling-card, 'Clouds'. Re-pressed astonishingly through P-Vine of all labels, this soul-quelling masterwork - first recorded in 1989 for a split release with Charles Hayward and mostly forgotten until said reissue - appears here at two various RPM speeds. The tune really does invite speeding up and slowing down at your leisure, especially if you're a dance music DJ's DJ who wants to prelude a set with a moment's iconic lushness.

The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.

A well needed vinyl re-issue of these sought after Break 3000 Electroclash classics from the period 1999-2003.
Originally released on Meuse Muzique in Maastricht, The Netherlands.

"Plastique People feat. Zusi" became a club hit again these past few years and saw the original vinyl prices soar on Discogs. "Last Emotion" was previously unreleased and brought back to live again thanks to the great Argentinian label "Calypso's Dream" who did the fine "The Rise Of Poseidon I" release three years ago that also included the fierce banger "Sacrifice", which became a hit back in the days when it was first featured on the massive DJ Kicks compilation by Tiga in 2003. The re-issue by "Calypso's Dream" sold out in a few weeks and was never re-pressed. The vocoder anthem "Emolotion" saw a vinyl only comeback on the cool Italian label "Mondo Phase" from Milan together with "Plastique People" in 2023, these limited copies were gone in days as well.

As a lot of people missed out on these Electroclash anthems by Break 3000 in the first vinyl re-issues we thought now is the right time to give them another run and make them available again. Enjoy!

All tracks were re-mastered by Salz Mastering in Cologne. Music & Art by Break 3000.

Esoteric Ears is a new label from Barcelona’s Conor Brophy.

Its first release comes from an unsung hero of the early 00s: Julian Foddy. As Katakana, Foddy released a string of now sought-after EPs, with a signature, brooding sound in the sweet spot between progressive, breaks and tech house. EARS 01 represents Katakana’s first release in over two decades, archival tracks forgotten for 20 years but that sound like they could have been produced yesterday, perfectly tuned for contemporary dance floors and listeners.

Side-long A1 ‘Incline’ is a driving but patient percussive progressive groove: heavy but spacious. On side B the stabs and bass pressure of ‘Xii’ are primed for peak time play; B2 ‘Fear of the Unknown’ is more heads down and pensive, with gradually unfurling hopeful melodies, perfect for mornings and after hours.

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

Renegade Methodz pushes deeper into the depths of real, underground Techno with its thirty-first catalog delivery, welcoming Jerical to the roster. 'Strange Patterns' is a showcase in uncompromising, machine-driven functionalism. Timeless music stamped with the Renegade Methodz seal of approval.

Medusa Outdoor presents the third chapter of its Vinyl Collector series: MO_03 – The Vinyl Collector III, featuring six carefully selected techno tracks across different generations, curated by resident dj's Michael Forzza and Jochen Robberecht. The release brings together internationally renowned artists including Nicole Moudaber, Johannes Heil, Envoy, Frank Biazzi, Flug and Steve Nash. Among its highlights is the long-awaited return of Johannes Heil’s “Paranoid Dancer”, presented as a Re-Mastered Original and appearing on vinyl for the first time since its original 2002 release, alongside Envoy’s timeless techno classic “Dark Manoeuvres” and Nicole Moudaber’s powerful “Movin’ On”. From rare collector material and timeless classics to contemporary techno, MO_03 brings six outstanding tracks together on one distinctive bordeaux-coloured vinyl, housed in a beautiful gatefold sleeve. Six tracks. Different generations. One shared techno legacy.

Ever since the release of his first solo album more than 20 years ago, German musician and producer Christian Kleine has experimented with blending and contrasting the varying textures and approaches of post-rave IDM, breakbeats, shoegaze and punk. His latest album offering, Touch & Fuse, shows he's continued to refine and perfect that combination, which is less a conscious concoction and more of a natural outcome of the music he likes. From the edgy Aphex-isms of 'Val 2' and the heavily filtered breaks of 'Reverse Angle' to the slowed down grunge meets pure electronics of 'Return of the Underground', this is unique, accomplished stuff.

Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.

Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.

Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.

Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.

Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.

Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.

Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.

Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.

'Life As A Duck' marks the return of Fergus Sweetland's imprint Pressure Systems and the label's first vinyl release. The title originates from a joke between two friends - friends that are ducks. These ducks found one another whilst discovering themselves, trying to navigate a world built for humans. Being a duck is another way of saying neurodivergent; existing adjacent to everything whilst trying to make sense of a strange planet, determined to remain as true to themselves at the same time as trying to be accepted in society. The tracks were made in direct response to a challenge presented to Fergus from a close friend: strip it back. The test was to apply brain-licking sound design to as few elements as possible and work them into functional club tracks. 'Tickle My Tism' meets the challenge. Fergus' signature low end captures the hips as the tension builds, expanding into an unexpected soundscape with precise smoothness. 'Trouble In The Bubble' is a dark yet dubby rolling club track full of texture and soundscapes. Nørbak's remix of 'Trouble In The Bubble' strips things down further with the Portuguese Garage (PTG) version, providing a more club-focused slant to the tune. 'Mind Easer' closes out the EP. The concluding track was written to ease the mind of a fellow duck when their feathers were ruffled by life. Its soothing focus allows one to melt into the sound and calm their mind. It tells you that everything is going to be okay. Expect the unexpected as Fergus' distinct sound design carries you through a four-track journey that emphasises that less is more - from a duck just trying to do his best.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.

Stoked to announce the debut record by Faulsk on Ruff Kutz!

Sometimes life can feel cyclical and having the first solo release on the label by someone other than myself had to be the right choice, it just so happened to be the producer from Tāmaki Makaurau / Auckland, which is where I started my lifelong obsession with Electronic music.

Shortly after playing a gig together at Whakamana in late 2024, we started exchanging tunes and I immediately wanted to put a release together with the first track he sent.. The release also features 2 collaborative tracks with myself and consists of 4 deep psychedelic grooves across the tempo ranges, built with the sound system in mind. This is an outrageous debut EP, and I am stoked to have it on Ruff Kutz!

Whilst having a low social media profile and only a few tracks released into the wild, Faulsk seems to have carved out a honed in sonic identity. Mixing Techno and Dub production techniques whilst still having swagger and depth that appeals to the bass heads. Expect expertly crafted soundscapes, interesting loopy grooves, lush evolving pads/stabs and low end wizardry. Genre - Faulsk, just how we like it.

Galvanize was the first track to build the EP with a relentless 4x4 groove, perfectly balanced low end and washy atmospherics, the track gradually evolves to show that less is more sometimes - with it's use of stripped back restraint and negative space to create energetic mood shifts.

On the A2, the first collaboration track Exhalation slows the tempo to 100 BPM for some kind of bass mutation straight from the underworld. This one taps into the tense atmospherics of Galvanize whilst cranking up the intensity with evolving drones and razor sharp percussion to sit amongst the dense soundscape.

The title track on the flip, is a 9 min roll out, reminiscent of early Forest Drive West. The subtle modulation and dubbing on musical parts draws you in and is a nice juxtaposition to the crunching percussion, militant groove and precise low end. Chugging away at 115 BPM, this is a versatile track to inject some kinetic energy into your local underwater dancehall.

Closing out on the B2 we have another collaboration. Upping the tempo to the mid 120s, Retrospect sinks deeper into hypnotism with polyrhythmic grooves and an unresolving feel which creates steady momentum, coupled with lush and evolving synth work which take the track into serenity. Regulate your sound system.

One for the heads!

Following the success of the inaugural all-Jiri Jiri edition, Batov Records returns with the second instalment of its Give Me Disco series, once again curated by label co-founder and globe-trotting selector DJ Kobayashi. Rather than revisiting familiar disco classics, Give Me Disco Vol. 02 digs deeper, bringing together four dancefloor discoveries from across Europe and Asia, including two previously unreleased tracks available here for the first time.

Spanning Portuguese jazz-funk, Norwegian cosmic oddities, Japanese-inspired psychedelic disco and cinematic groove, the EP reflects the breadth of Kobayashi's record bag - a carefully assembled selection of tracks that have soundtracked his DJ sets for years alongside exclusive material rescued from the vaults.

Opening the record is The Bam Jam Band's brilliantly understated "Theme", a soaring slice of jazz-infused disco from Portuguese musicians Sérgio Alves and Pedro Tenreiro. Originally released only as a now long-sold-out 7 inch on Mad About Records, the track has become one of Kobayashi's trusted secret weapons, championed by discerning selectors including Darryn Jones and Red Greg. Built around Alves' dazzling synthesiser work, "Theme" finally gets the wider audience it deserves. The EP's first exclusive arrives courtesy of D. Apal, instrumentalist and member of Norway's Flammer Dance Band. His only solo release, issued on the band's Lysketrekk Records, has become a cult favourite among adventurous record collectors. Batov now unveils the previously unreleased "60 Meter'n (Rytme)", an extended instrumental dub that strips away the vocals to let the handclaps, cavernous bassline, dub effects and wonderfully eccentric synthesisers breathe, transforming an underground favourite into an irresistible dancefloor weapon.

Side B opens with YĪN YĪN's "Tokyo Disco", taken from the band's acclaimed third album Mount Matsu on Glitterbeat Records. Long-time admirers of the Dutch quartet, Kobayashi has championed them since first hearing the breakthrough pairing of "Dis ̄ kô Dis ̄ kô" and "Dion Ysiusk" on Bongo Joe. Since then, he has hosted the band twice on Soho Radio and supported them live in London. "Tokyo Disco" perfectly captures YĪN YĪN's distinctive blend of Japanese-inspired psychedelia, Southeast Asian influences, post-punk funk and shimmering disco grooves, making it a natural fit for the Give Me Disco series.

Closing the EP is another exclusive from Jiri Jiri, whose contribution helped launch the series on Vol. 01. Ahead of their forthcoming album later this year, the duo unveil the previously unreleased "Spaghetti Western", a wonderfully off-kilter fusion of Morricone-esque cinematic atmosphere, taut funk rhythms and the soulful modern groove of SAULT. Equal parts soundtrack and dancefloor curveball, it provides a fitting finale while offering another tantalising glimpse of what's still to come. With two exclusive cuts sitting alongside two carefully chosen modern classics, Give Me Disco Vol. 02 is another lovingly curated snapshot of DJ Kobayashi's musical universe: borderless, groove-driven and unapologetically built for adventurous DJs, discerning collectors and open minded dancefloors alike.

LP w Silver foil print sleeve + Hype Sticker)

Revisiting the sound and spirit of Jazzy Sport, rooted in Japan and carried forward by a new generation. Compiled by Nina Yamada, featuring Cro-Magnon and Grooveman Spot, with remixes by DJ Mitsu the Beats and Idjut Boys.

Founded in 2002, Jazzy Sport emerged at a particularly fertile moment in Japanese music. Beginning as an independent label and record shop, with its first store in Morioka and Jazzy Sport Music Shop Tokyo opening in Shibuya the following year, it became a home for artists including GAGLE, DJ Mitsu the Beats, Cro-Magnon and Grooveman Spot. Its releases moved freely between hip-hop, house, jazz, broken beat and live musicianship, helping define a distinctly Japanese strain of open-minded club culture.

But the music was only the beginning. Jazzy Sport developed into a network of record shops across Japan, alongside its label and distribution work, apparel and design, dance studios, and a Morioka record shop joined to a bouldering gym. These were not unrelated side projects. They expressed the same founding idea: that music, sport and everyday life could come together to create community.

PAST FORWARD: SILVER marks the first release on the Jazzy Sport London label, distributed by Time Capsule. Established in 2022, the London project first took shape through parties, radio shows and community collaborations connecting Japan and the UK. This compilation carries the Jazzy Sport archive and its values forward through a new generation.

At the centre is Nina Yamada, the daughter of one of Jazzy Sport’s core members. She grew up within the community that shaped the collective, and her selection is not a conventional greatest-hits survey, but an inside view of the catalogue and an intergenerational handover made audible.

The music moves naturally between hip-hop and house, electronic production and live performance. That openness has always been central to Jazzy Sport, where club music, musicianship and community are part of the same conversation rather than separate scenes.

DJ Mitsu the Beats’ remix of Cro-Magnon’s “Eclipse” brings the refined, soulful depth that makes him such an important figure in Japanese beat music. Idjut Boys’ deep, dubwise Cro-Magnon rework reflects the long exchange between Japan and the UK, while Grooveman Spot’s “Do The Dance” finds a sweet spot between acid-tinged 808 groove and warm soulfulness.

Elsewhere, Nubian Lady’s “In☆Flu☆Enza” draws on Detroit techno and Chicago house but sharpens those influences into something lean and distinctive. Physical Sound Sport’s “Magical Kalimba” captures the communal energy and openness of a live session. Bottom Fly’s “Rhyme Or Reason,” rooted in Morioka, pairs rough-edged beats with mellow samples and a quiet sense of nostalgia.

What comes through is not only the strength of the individual tracks, but the sensibility that connects them. That keeps PAST FORWARD: SILVER from feeling like a nostalgic best-of. For longtime followers, it offers rediscovery; for new listeners, a way into the breadth of Jazzy Sport; and for DJs, a selection made for the record bag, not just the archive.

Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.

Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.

You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.

Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.

This is more a relic than a record. A token of respect to the music that made me who I am. Everything I do starts here — the urge to pull songs I love into the club shape I play today, for one reason only: to make someone else feel what I feel when I hear them. Two techno improvisations, ANG and OSC, built on two songs that mattered enormously to me and to electronic music — bands that started their own revolutions, in their own time, mostly off to the side of the mainstream.

These came out too good to keep to myself. Vinyl only. 300 copies. No repress, ever. First come, first served. Bandcamp and selected stores. No digital, no promos — this one stays sealed.

That's Life is the second album by Sham 69 and probably the first concept punk rock record. The first wave of punk was all about singles and there are two fine ones here: Hurry Up Harry and Angels With Dirty Faces. Anyone who can suffer through an episode of East Enders should be able to follow the "day in the life" narrative. A pretty great record that is anchored up by two great singles and a novel concept for an LP.

That's Life is now available again on black vinyl.

Those familiar with the work of veteran French deep house don Franck Roger will happily tell you that he has long been one of the best in the business - a European equivalent to US greats such as Larry Heard, Ron Trent, Vick lavender and Glenn Underground. More proof of Roger's finely-tuned, floor-focused musicality can be found on this fine three-tracker on Seasons, an imprint he first featured on way back in 2005. Check first title track 'Avalon', where deep, dusty, minor key motifs, echoing organs and layered percussion cluster around a deep, dubby house groove. 'Draggin' sees him make merry with sustained chords, smooth beats, jazzy synths and gentle TB-303 acid motifs, while 'Ur Shoulder' is a spacey and futurist deep house delight.

Strut proudly presents the first release in almost a decade from the legendary Senegalese group Orchestra Baobab with Made In Senegal. Few groups embody the spirit of African music like Orchestra Baobab. Formed over 50 years ago as the resident band of the Baobab Club in Dakar, their timeless fusion of Afro-Cuban rhythms, Wolof griot traditions, mbalax, Congolese rumba and jazz continues to resonate across generations and continents. Now, the celebrated big band marks a new chapter in their illustrious history with Made in Senegal, their first new studio album since Tribute To Ndiouga Dieng in 2017 for World Circuit. Released on respected imprint Strut Records in conjunction with Madoky Music, the new album celebrates home, heritage, love and resilience and was recorded entirely in Dakar. On Made In Senegal new songs sit effortlessly beside re-imagined classics. Lead single "Togne Bakhoul", composed by late Baobab vocalist Rudy Gomis is a poignant ode to his wife and "Tioro Bye Samba" reprises a classic Thione Seck song while "Casamance" celebrates the culturally rich Southern Senegalese region, homeland of several Baobab members. "Baobab 50 Ans" marks the 50-year anniversary of this indomitable group. Made In Senegal is another modern Baobab classic combining a fresh approach with roots fixed firmly in Senegal"s rich traditions. It is the perfect time for a new generation to discover the elegant, hypnotic sound of one of Africa"s greatest ever big bands.