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Tooloop Records celebrates its tenth release with "Orbis EP", a four-tracker from label affiliate Stab9. The record captures a moment of evolution in both Stab9’s sound and the label’s sonic identity, reflecting a broader vision of the Tooloop universe through expanded arrangements, deeper exploration and a more immersive presentation.

Opening the EP, ‘Source’ establishes its atmosphere through a constantly evolving arrangement, moving through several distinct phases while maintaining a sense of fluid progression. Carefully shifting textures, unexpected bass changes and subtle variations in dynamics reveal new details with each turn. Title track ‘Orbis’ shifts the EP towards warmer tones, built around classic house-inspired sounds, melancholic pads and polyrhythmic bass movement. Its rolling low-end and intricate percussion subtly tilt the track towards techno territory, reflecting the circular motion suggested by the track’s title. ‘Beastro’ gradually ascends through a restrained growling bassline and fractured hi-hats, dropping into an engine-cut moment in the middle of the track - a brief suspension before the groove returns, pulling the track back into motion. ‘True Story’ unfolds through a walking bassline, intricate hi-hats and smeared percussion, creating a sense of movement through a world of morphing textures and atmospheres. Its restrained melody embraces the idea of “less is more”, closing the EP with the bittersweet beauty of mono no aware.

With "Orbis EP", Stab9 presents a deeply personal approach to electronic music, where detailed studio craftsmanship meets the physical energy of the dancefloor - the label completing one full turn, and opening the next.

Southern Italian producer Kikko Esse makes his debut on Four Framed Music with Wisdom of Many Minds. Rooted in funk and soul, his sound draws on the timeless spirit of Chicago, deep and Detroit house, while adding a warm musical touch of his own. The result is a collection of four deep house cuts built on groove, musicality and timeless appeal.

Opening track Solo Imperiale sets the tone with warm Rhodes chords, organic percussion and a rolling bassline. Its hypnotic groove strikes the perfect balance between musicality and timeless dancefloor appeal. Detroit legend Rick Wade puts his unmistakable stamp on the original with a signature Detroit deep house reinterpretation. Dusty chords, loose percussion and a deep rolling groove come together in a timeless remix that perfectly reflects his iconic sound.

On the flip, Echoes of The Tribe explores a more organic and spiritual direction, combining earthy rhythms, warm melodies and hypnotic grooves. Trinidadian Deep rounds off the release with a signature deep dub house remix, blending organic percussion, warm sub bass, lush pads and organ improvisations into a spacious, meditative groove.

With two original productions from Kikko Esse and remixes by Rick Wade and Trinidadian Deep, Wisdom of Many Minds brings together three distinctive artists, each with their own take on timeless deep house.

Dream Sonic Research returns with its second installment, blending techno with elements of trance and progressive.The release opens with The Portal, driven by a straightforward bassline, wobbling sub-frequencies, and chords that evoke Detroit techno. It is followed by Rise of June, a track that sets the mood for the party with a groovy bassline and an opening melody.

On the flip side, Blind Karma is a straight-to-the-point, psychedelic tune crafted for adventurous dancefloors. Closing the EP, Water Float takes everything to another place, an ethereal journey that draws you home.

Disco Segreta is going to make Italo disco fans very happy once again, with the reissue of one of the hardest-to-find and most coveted late Italo disco obscurities: Gabriella Bove’s “Autoblu”.

Originally written and produced by Argentine-born singer and songwriter Chaly Albert, “Autoblu” has recently caught the attention of hardcore diggers for its unmistakable ’80s Italo disco sound paired with a chilled sun & sea latin vibe, melting Italo disco with synth-pop.

Released in 1989, when the Italo disco craze was starting to fade into what would eventually become the early Italian dream house sound, “Autoblu” pairs Bove’s peculiar vocal presence with a combination of sounds that is now instantly associated with the Balearic aesthetic. Perhaps precisely because it was so ahead of its time, the record failed to find its audience upon release: of the original 500-copy pressing, most copies reportedly ended up being destroyed.

Disco Segreta reissues both original 12″ versions in a strictly limited edition, sourced from the original master tape and faithful to the tracklist and aesthetic of the original release.

Per Hammar returns to his own Dirty Hands imprint with the four-track ‘Ontario EP’, once again showcasing his raw, robust and groove-led style.

Swedish producer and DJ Per Hammar has steadily carved out a reputation as one of the most distinctive voices in contemporary underground electronic music. As the founder of the acclaimed Dirty Hands imprint, Hammar has built a platform synonymous with deep, groove-led and uncompromising club music, while other productions have found homes on some of the scene's most respected labels including Sushitech, Kalahari Oyster Cult and Craigie Knowes. Here we see him returning to his own home and delivering stripped-back late-night tools, psychedelic excursions and deep, hypnotic dancefloor journeys. Hammar consistently balances functionality with personality, a quality that has established him as one of Europe's most respected underground talents.

Title cut ‘Ontario’ leads with Per laying down crisp, crunchy drums alongside dubby bass tones, fluttering stab sequences and intricate modulations, all delicately ebbing and flowing throughout the composition. ‘Off Disk’ follows, fusing organic percussive elements with weighty sub-bass, shifting synth flourishes and bubbling, delayed melodies that steadily unfold across the groove.

On the flip side, ‘Oops All Sixes’ shifts into more acid-tinged House territory, built around a squelchy acid bass hook and saturated drums, while sporadic, expansive delays and hypnotic reverberations drift atop the track’s raw, loopy foundation. ‘Airex’ concludes the release by diving deeper, stripping things back to oscillating percussion, a snaking low-end pulse and airy chords.

2026 repress :)

The long-awaited repress of "Baby EP" - Ricardo Villalobos's first solo single on raum...musik under the Villalobos moniker - is finally here. Featuring two tonally and energetically distinct cuts of dancefloor minimalism that are undoubtedly Ricardo. "Baby EP" sounds as cutting-edge as when it was initially released 12 years ago.

From the slightly euphoric and light-hearted atmosphere of 'hansup' (A) to the emotionally charged groove of 'Baby' (B), "Baby EP" travels through a world of intricately layered micro/macro percussions, eloquently programmed synths, and Ricardo's own vocals spread across the frequency spectrum - an added human touch to his usual machine funk. And while rhythm seems to be at centre stage here, in usual Villalobos fashion, both tracks resolve into pure jazzy melancholy. After dragging the listener into a world of (very) human feelings so uncommon in electronic dance music, "Baby EP" makes it very clear you are listening to Villalobos.

Connections crew return for their fourth vinyl release on Lirica Archives. This time delivering a various artists 4 track EP.

Built for the floor, each track brings its own distinct flavour, blending energetic grooves with driving rhythms that keep the momentum going throughout.

Kukangendai are the innovative three-piece Kyoto based experimental rock band formed in 2006 with Junya Noguchi on guitar and vocals, Keisuke Koyano on bass, and Hideaki Yamada on drums. Since 2016 the band have set up shop in their studio and venue space, Soto, which houses an incredibly well tuned and powerful sound system that has become a well known destination for touring musicians. In March of 2025, Marionette was celebrating a belated 10 years of activity with label showcases across Japan in collaboration with Dotei Records, and Soto was inevitably one of the stops as many label alumni have set foot in the venue over the years. This is where I got to experience Kukangendai perform for the very first time and knew right then we were destined to work together.

Kukangendai embody an undeniable sense of timing and precision through collage-like repetition of minimalist phrases that manifest as a single unified rhythm. Their latest offering for Marionette, titled Baquet Wheel, is a purely acoustic endeavor, remarkably recorded live using Taku Unami's special binaural microphone. The trio seamlessly twist polyrhythms and melodies rooted in jazz, krautrock, blues, and Tuareg producing a timeless sound that preserves the primitive and memory evoking narratives buried deep within the music. Over the course of five tracks, the visceral nature of Kukangendai’s dynamic evolves from playful riffs that are seemingly familiar yet strikingly original, making it impossible to discern exactly when this material was conceived.

Kukangendai have maintained a prolific yet relatively low profile for the last two decades, with a handful of self-released editions on their own labels (Soto and Leftbrain) as well as a collaborative album with pioneering electronic music composer Ryuichi Sakamoto in 2018, then venturing outside Japan in 2019 to release their first widely distributed album on Ideologic Organ, a label curated by Sunn O)))’s Stephen O'Malley. Other collaborative projects to date include an album produced with rap group Moe and ghosts, live performances with Keiji Haino and with poet Gozo Yoshimasu, productions with the Chiten theater company, and most recently a remix album of their works featuring Carl Stone and Madteo.

Ian Simmonds presents his new album "The right side of kind" on Goldmin Music. Ian Simmonds is one of the most creative Nu-Jazz/Downtempo producers of the last 20 years.
Although these words can't describe his music properly as the man is always looking for an innovative sound that could cross the boundaries of musical styles. The Welsh-born found his inspiration in music from all over the world and his songs don't only express one clearly defined feeling. They are more of a subtle mix of emotions that let the listener interpret it his way. As Ian said himself: "I think there's a lot of beauty in melancholy". For example, he spent over a year living in a castle in Germany to record his last album " The Burgenland dubs" in a solitary atmosphere where he could really think, breathe, make a plan. That's the point, Ian is always re-thinking things over, looking for a new source of inspiration which results in a constant evolution. He had the chance to collaborate both with amazing musicians like Goldfrapp and electronic music heads like Mathias Kaden, Soulphiction, Krause Duo..

Ein spannender Mix aus Terrortekk, Electro und Dark Ambient.
Vier klassische nolongerhuman-Tracks in definitiven Versionen (Stand 2026)
Komplett neu abgemischt aus den Original-Session-Dateien, inklusive neu aufgenommenem Gesang
Erste Vinyl-Veröffentlichung dieses Materials
Weltweit streng auf 300 Exemplare limitiert
Klassisches schwarzes Vinyl, passend zum Artwork ausgewählt
Artwork und Konzept von Vlad McNeally
Etablierte Fanbasis in den Dark-Electro-, Industrial- und Aggrotech-Szenen
RIYL Suicide Commando, Hocico, Grendel, Combichrist, Aesthetic Perfection, Tactical Sekt, God Module, Psyclon
Nine, Velvet Acid Christ, Unter Null
Unterstützt durch Promotion in deutschen Medien, Charts, Clubs und sozialen Netzwerken sowie durch DJ-Support

Fohn conjures a dreamlike landscape of introspective beauty, loneliness and transience from analogue tape and field recordings on new album, Porcelain.

A late summer evening in southern France. The dry mistral wind billows the washing that hangs outside the windows on narrow streets, bringing with it the first whispers of autumn. In the distance children are playing in the square, their shouts caught in the dust whipped up by their feet. A bell tolls, the light dies, and a rich, compelling solitude descends.

Violinist and multi-instrumentalist Fohn, aka Tom Connolly, describes the act of making music as “building fictional environments that become places of solace,” and a process of translation and projection that bridges his internal and external worlds.

While musicians like John Also Bennett, Oren Ambarchi and Connolly’s own group Quade drift behind his sound, Porcelain draws its temperamental inspiration from films like Call Me My Your Name and Andrei Tarkovsky’s The Mirror, as well as the sculptures of Anthony Gormley, whose solitary figures stand isolated in expanses of water along the UK coastline.

How does Connolly describe the atmosphere he wants the music to evoke? “It's the feeling of the inevitability of something having to pass,” he answers. “It's compelling because it's fundamentally unattainable. You're searching and grasping for something that you can never fully hold.”

A moving, intimate and deeply personal album, Porcelain shimmers in the illusive light of melancholy. For Connolly it provided the release of catharsis, but it’s a feeling that will mean something different to everyone who listens.

Roughly two years after the release of their initial statement of intent, debut single “Toutpartout PT2” with its hypnotic ripples, Andi Haberl and Florian Zimmer aka Bella Wakame have successfully channeled the magic of a 2024 live recording (captured at Berlin’s Donau115 & Silent Green) into their first proper studio offering. You can hear inspirations ranging from Bitchin Bajas, Jeremiah Chiu to Groupshow (Jelinek, Leichtmann, Pekler), the hypnotic, intricate battle between form and freedom (the fun of momentary formlessness) continues to unfold over the course of 10 new tracks, featuring album guest Indra Dunis (Peaking Lights). Their first single "Shades of Nambei" was very much inspired by the wonderful band Spirit Fest and their song "Nambei".

You can either shorten the reins, or you can loosen them – and give things more slack. With Bella Wakame, it’s definitely the latter. Constantly challenging each other, they’re tapping a whole new energy. Tons of different energies.

Based on the impulsive, propulsive interplay between drums/sensory percussion (Andi Haberl) and modular synthesizer (Florian Zimmer), the frenzied, free-form results take listeners into completely new dimensions – sonic worlds that don’t really sound anything like their other musical outlets (The Notwist, SUN, Saroos, Driftmachine etc.).

Whereas most bands tend to notoriously overthink names/monikers, these guys obviously only care about the ecstatic push-and-pull that occurs once their instruments meet and overlap: it’s wildly explosive textures with a booming heart. Moving restlessly between motorik club, electro-acoustic jazz experiments, ambient excursions, and fast-paced instrumental anthems that seem to explode at the seams, one can immediately tell how much they enjoy the newfound freedom, the turbulent encounters born on the spur of the moment.

It’s all about a quick-paced exchange of friendly blows, a chasing of tails into ever-new musical terrains. Relying on just enough form for that wildness to blossom within, their just-in-time dashes continually unfold, refold, return, grow bigger – and leave you startled.

Ecstatic’s dreamiest cadets bliss out on a new album of acoustic and electric guitar, harmonium and synth tapestries, notably nestling a Romance cameo within a genteel toggle of atmospheric pressure.

Back on (side) road after releasing quietly acclaimed kosmische gem ‘I Had too Much to Dream Last Night’ back in 2021 and the lysergic lushness of ‘Listen to the Sky’ a couple of years later, Celestial suggest a more sublime return to earth with the shine-eyed wonders of ‘I Can Hear the Grass Grow’, an album that soothes to the supine in eight shimmering parts of pearlescent melodic motifs marbling harmonious backdrops intended to tenderly comb nerves straight.

The duo take their role as seductive sandmen with a curious melodic wit that leaves something to the imagination whilst nudging it along the album’s narrative thread. A courtly flamenco lick flickers in opener ‘The Endless Stair’, one of the most restrained recordings we've heard from the childhood friends; blessed with just a little reverb and echo, as if a mic's been lowered into some dimly lit basement while Celestial puzzle out mystifying, interlocking harmonies. It hits a mid-point between John Fahey's raga-inspired Americana and Vini Reilly's rain-soaked Northern blues - the emotion throbs from every note.

Celestial's music is never too polished, giving it the fuzzy, uninhibited flair of a long-lost mail order private press and instilling it with a level of humanity that's rare to discover in the new-new age. Even when mysterious labelmate Romance turns up to ornament 'Mermaid Boulevard' with backmasked electronics, it's their low-slung Ry Cooder-esque guitar/bass that provides the narrative anchor, while the title track and spongiform analog textures of ‘Song For The rainy Season’ dial it right down to a Harmonia-via-BoC pastoral sublime. Vini Reilly and Eno’s influence is most surely felt on the swaying elegance of ‘Sweet Sleep, Angel Mild’, with a central motif that lingers on the mind long after it’s stopped playing, whilst their closing couplet perfectly resolves the cycle with a melancholic kiss-off for the ages.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic. Album opener "Low Times" sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of "After All", the haunting ambience and buried heartbeat throb of "Soft Collapse", and the noirish atmospherics of "Blackout Dust", which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on "Bombed Suburbs", where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove. Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track "Almost a Structure", obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. "Second album from electronic producer Michael Fiedler's GHOST DUBS project. "Follows up from the highly-acclaimed 'Implosion' album with The Bug from 2025. "Debut album 'Damaged' sold out its three initial pressings and has just been repressed "Michael Fiedler recently scored 'Sound of Falling' which won a Cannes award in 2025 and made the shortlist for an Oscar, too.

,Memoria", das neueste Album von Carmen Villain auf Smalltown Supersound, beginnt wie ein geöffnetes Ventil; ausatmende Flötenakkorde füllen langsam eine weite Klanglandschaft und laden den Zuhörer dazu ein, das Tempo zu drosseln und in einen Zustand des tiefen Zuhörens einzutreten. Es ist eine Einleitung, die gekonnt in ein Album aus verlangsamten, spektralen Dub-Klängen führt, die schimmern, knurren und über die narrativ geordneten sieben Titel hinweg ausklingen. In dieser Hinsicht knüpft ,Memoria" dort an, wo Villain mit ihrem 2022 erschienenen Album ,Only Love from Now On" aufgehört hatte, auch wenn der Schwerpunkt des aktuellen Albums auf Klang als Erinnerung liegt - und auf Erinnerungen als sich wandelnde, nicht statische Unvollkommenheiten. Wiederholung fungiert als neu erzählte Erinnerung; die Bearbeitung zersetzt und formt den Klang neu, und Abstraktion ermöglicht eine Art Freiheit von Linearität. Inspiriert von Pauline Oliveros' Schriften über innerlich abrufbare Klänge, die für andere unhörbar sind, sowie von Apichatpong Weerasethakuls Film ,Memoria" aus dem Jahr 2021, betrachtet Villain die Erinnerung sowohl als kognitive Fähigkeit als auch als Form der Komposition und formt Samples aus ihrem eigenen Archiv zu einer kosmischen Selbstbeobachtung - wenn auch zu einer, die das Gegenteil von Solipsismus ist. Der nach innen gerichtete Blick des Albums lässt sich vom tiefen Zuhören als Form der Empathie inspirieren, das uns gleichzeitig mit uns selbst und unserer Umgebung verbindet. Die Arbeit der letzten Jahre an Kompositionen für zeitgenössischen Tanz und Installationen - darunter Kooperationen mit der Choreografin Eszter Salamon und ein Aufenthalt am IRCAM, bei dem sie erstmals ambisonische Räumlichmachung erforschte - prägt ebenfalls die verstärkte Aufmerksamkeit, die ,Memoria" dem Klang als physischem Raum und immersiver Umgebung widmet. Ein Großteil von ,Memoria" basiert auf einer Kombination aus neuen Aufnahmen und älterem Archivmaterial: Aufnahmesessions mit der häufigen Mitwirkenden Johanna Orellana (Flöten) sowie Eivind Lonning (Trompete) werden neben Villains eigenen Klarinettenaufnahmen zerlegt und zu einer dichten, aber luftigen Sample-Bank neu zusammengesetzt. Die viszerale menschliche Präsenz (Atem, Wind, die Körperlichkeit der Luft, die durch Instrumente strömt) und harmonische Stränge des Free Jazz treten durch mehrere Bearbeitungsschichten hindurch zutage, als hörte man sie aus der Ferne - oder durch die Zeit hindurch. Rhythmen und Texturen lösen sich auf. Der Klang erodiert. Erinnerungen werden neu gestaltet. Und Melodien sind, anders als auf Villains früheren Veröffentlichungen, weniger deutlich und weichen anderen musikalischen Leitmotiven. Es lässt sich eine Tradition zurückverfolgen, die zu Rhythm & Sound, Clicks-and-Cuts, Pharoah Sanders, Jon Hassell, Actress und Ricardo Villalobos führt - wenn auch oft in abstrakten Formen: Kleine Klänge werden groß, während große in einen feinkörnigen Rhythmus zurücktreten. Minimalismus ist der Schlüssel, um die Details wahrzunehmen: knisternde Elektronik, Einatmen und Seufzer hallen in weiten Räumen nach und ruhen auf einem Fundament aus Rhythmus. Diese Zurückhaltung unterstreicht Villains Neigung, Klänge und ihre geisterhaften Klanggedächtnis-Doppelgänger nach Frequenzen chirurgisch voneinander zu trennen. Paradoxerweise lässt sich jedes Artefakt als Annäherung an eine Erinnerung mit äußerster Präzision hören. Für Villain scheint die Erinnerung im Klang bequem hinter dem Mischpult eines Dub-Labors Platz zu nehmen und dort gekonnt und unvorhersehbar Lautstärken, Texturen, Filter und alle anderen Parameter - bekannte wie unbekannte - in einer sich ständig wandelnden Erinnerung zu steuern.

Flug brings his singular vision to Backspin Records with 'From My Soul', a 7-track EP that marks a powerful new chapter for both artist and label, rounded out by a remix from Kashpitzky. Moving between deep emotional techno, raw percussive functionality and high intensity, the release showcases Flug's signature precision and narrative depth while keeping things classy and never falling for overused tropes. Kashpitzky completes the package with a remix that reinterprets the source material from a darker, more straight-forward angle. ??

Opening with the title track 'From My Soul', Flug sets off on an epic 8-minute journey built on reverberating melodic layers, shimmering chord pads and a strong low endthat unfolds slowly and deliberately, balancing emotional weight with a hypnotic drive. 'Make It Loud' follows with a more stripped, functional direction, where warm low-end energy, minimal percussion and reverb-drenched sine wave synth hits create a tight, circular groove anchored by a subtle but sinister vocal presence. ??

On the flip side, 'Human Instinct' turns the energy more direct and physical, driven by a saturated kick drum, looping synth motifs and sparse vocal cuts that heighten tension without disrupting the flow. 'The Awakening' expands the emotional scope with a deep kick and tom-driven bassline, expansive droning pads and dragging percussion that build a rich, cinematic atmosphere. Kashpitzky's remix reimagines the original at a faster BPM with distorted chord stabs, off-grid hi-hats and layered synth work creating a tense, industrial atmosphere that breaks into a spacious breakdown before dropping back into a stripped,high-impact groove. ??

With the 'From My Soul' EP, Flug marks a strong first statement on Regal's Backspin Records, delivering a cohesive body of work that balances depth, emotion and dancefloor utility, reinforcing the label's dedication to innovative techno.

''Deep Baby'' is the new EP from Apoteoz, DJ and producer, member of the Planète 51 collective.

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.

First Principles marks the debut release on Groove Disciples Series, a new DJ-focused vinyl catalogue from 80147, created as a natural extension of the Groove Disciples Podcast. While the podcast has connected DJs and selectors from local scenes across Europe through guest mixes and conversations, the new series continues that mission through carefully curated vinyl releases from artists who are both DJs and producers.

Opening the catalogue, Bloody G delivers four dancefloor-oriented cuts that explore the space between deep house and Detroit-inspired techno edges. From the melodic and melanchonic "Message in the Sound" to the driving "Regroup Reclaim Rebuild" and "Machine Funk" with a reinterpretation by Southbound Sounds, the EP is built with club functionality at its core, favouring groove, analogue warmth and musical restraint over passing trends.

First Principles establishes the philosophy behind the series: music first, DJs at the centre, and vinyl as the medium that continues to connect local clubbing scenes through music, collaboration and community.

Enlazando el número de referencia (el vol8) con la caja de ritmos mítica y clásica de Roland la Tr808,.. qué puede salir mal? 6 Cortes, 6 Artistas, 6 ideas, 6 visiones de este nuestro amado estilo que llamamos Electro.

Vema-Diodes_ Victory lap:
Contundencia y elegancia, ritmos rápidos, pads ambientales que cuentan una historia futurista. Resumiendo, un rompe pistas como ya nos tiene acostumbrado nuestro macarra favorito del Llobregat.

Dark Vektor_ Haciendo el Robot:
Pues esta vez el tito Vektor se ha puesto el chándal de 1984 (de Emilio tutsy ya que es un vanidoso) y nos trae una muy buena producción al estilo old school homenajeando a los mismísimos Dynamik Bass System y EPG.

Univac_Artic Defender:
Qué decir de uno de los mas grandes del electro de nuestro país, oscuridad, contundencia y sonidaco…electro rozando lo industrial rozando lo hipnótico rozando lo mas profundo de nuestro ser.

Multiplexors_Kill Circuitcenter:
Un Honor poder editar su primera referencia de este dúo formado por Sentex y AM/ALF dos friks de las máquinas y del bass, nos traen un corte muy purista super sintético con alma analógica, vocoders y 808 y lo mas importante: intención.

Calagad13_Cosmic Sailor:
Un honor tener a un grande del electro, un pionero del bass en nuestra tierra, temarrako al mas puro estilo Miami bass con una producción exquisita… un revienta pistas.

Negocius Man_Flying on Vega:
El gran Nego, que decir el Man Machine de Madroit, nos entrega un corte contundente, de culto, sonido oscuro y mental donde entras en su mundo percusivo te atrapa y ya no te deja salir hasta que el quiera.

The fifth instalment in the label’s well-established Fluid Files series, this new mosaic of sun-streaked joints summons the voices of faces old and new, sewn together with that similar Chicago-typical, laid-back attitude and a thread of unstoppable funkiness.

Diving first with a slice of velvety, looped out piano house boogie on a solid French filtered house tip, Dutch outfit Fouk lays down a proper enticing number for the late summer hours, packed with elastic bass jack, anthemic stabs and a sun-kissed shimmer straight out a blissed out coastal escape. Label alum Danou P follows up with a further bouncy number, dishing out a seriously infectious mix of acid-abraded bass and warped floor dynamics, ready to knock dancers askew with its lush, synth-flooded hooks and fun-loving, oddball swing.

More on the muscular side of things, Ben Diggins clocks in with the steroid-fueled balearic hoodoo of ‘Mascotte’ - a tune built for the undying after vibes, when the sun begins to rise and the crowd’s levels of serotonin hit a new high. Prismatic and powered-up, Diggins’ track injects any heavy-lidded engine with his own concoction of driving percussion, utopian motifs and fluttering, ambient-leaning harmonics.

Rounding off this four-part sonic journey, Colombian vibist DFRA teams up with Argentinian singer Denise Izaguirre on the heavily Latin jazz-informed, ‘Impulse’. Soulful and oneiric, the song taps in both artists’ musical heritage whilst pushing for new directions through the combined use of electronic and acoustic instruments (congas, trumpet, synths, drum machine…) - contrasting and complementary, shaping an entirely new and singular vision that is drenched in a bittersweet blend of warm melancholy and bracing hopefulness

The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.

Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev

Remastered and cut to vinyl by Kassian Troyer @ D&M. Cover art by Jim Kühnel based on a photograph by Uwe Zahn.

20 Years into the future, we return to you with the world’s illest hard drum n bass beats. In 2006, we released Counterstrike, Identity (BTK Spleen), Corrupt Souls, and Lethal & Khanage, making a 4 continent super weapon of drum n bass.
We arrive in 2026 with the hottest new talent - Rawbreaker, Anika D, paired with legends such as Jaise, Submerged, and inimitable voice of Flowdan. Disciples of the Unreal II is our return to wax also, with a 2x12" mastered hot for the DJs and distributed worldwide.
Each artist contributes a piece of the hard sound in their own fashion - from the roughneck beats of Medium, Rawbreaker, Submerged, and Scartat, to the Sinthetix-fueled neurofunk of Code2 and Anika D, and a foray into industrial techno from Slave to Society’s rework, and landing in the world of original Jungle sound with Jaise. From every corner - we come correct with the drum n bass intellect.

Deep techno pleasure, with a pinch of IDM treasure !

Previously unreleased jazz funk from Suriname, recorded in 1981 by keyboardist Sonny Khoeblal and his band Thalamus.

The music of Thalamus is a time capsule and the best kept secret of post-independent Suriname. During this turbulent time, the band used the language of jazz to express their desire for unity and freedom.

The generation of Thalamus envisioned a future beyond the ethnic divide their parents knew as social barriers. After independence, young people met at work or in universities and shared principles of unity and international solidarity. Jazz played an important role in translating tensions and experimenting with a sound of the future.

The band members of Thalamus shared interests in jazz-fusion from Weather Report, Chick Corea, Bob James and Carlos Santana. Compared to contemporaries with more pop appeal, their sound remained obscure in Suriname. Still, people listened to them bending conventional rules of jazz, pop, latin, rock and funk. This fusion reflected the band, its diverse members and their country: Suriname is a multi-ethnic country by colonial force. If diamonds are formed under pressure, love and solidarity emerge under oppression.

Thalamus is a unique recording of this revolutionary period, with new people finding each other based on a universal language: jazz-fusion. It culminated in six songs, two of which are 'Summer of Love and Music' and 'Lady Amazone'. This 7" vinyl brings you their story, their experimentation with jazz-fusion and tells the parallel history of Suriname.

Live performed at the "FREE PARTY GHOST BUSTERS" (Tribu Ktare - Mental Resistance - Poivro Family - Tellurik) 13,14,15,16-05-16 (south France).

Limited & Numbered to 100 COPIES



100 copies/ Ltd Numbered.
Each live set is different... Cannot do it twice. This is Hardware : instrument is a goldmine and everytime you dig another tunnel...
Mental.

Call of the Wild and Void is the sixth studio album by Hunter Complex and arrives on the Seattle-based label SFI Recordings. It features contributions from Aquiles Navarro (trumpet), new age legend Kat Epple (flute) and many more. Call of the Wild and Void is the follow-up to the critically acclaimed albums Airports and Ports (Burning Witches, 2022), Dead Calm and Zero Degrees (Burning Witches, 2020) and Open Sea (Death Waltz, 2019). The artwork was created by Andrew Crawshaw for Broken Press.

‘Oud-player with The Handover, Eissa was mentored by two legendary figures in Egyptian music: composer and multi-instrumentalist Abdo Dagher, and oud master Hazem Shahin. The music here is heavily rooted in both Egyptian classical music and a number of different folk music traditions, but it goes its own way, through expansive and intricate original compositions.
‘The epic title track, with Eissa playing oud exclusively, takes up two thirds of the album. It seamlessly transitions into heart-stopping recitation of the thirteenth century poet Baha´ al-din Zuhayr… serious, loving, tender and insistent, all at once. Visionary and virtuosic, but at the same time warm and close.
‘A future classic.’

Tribe old school, minimal, mental and fresh ! A pure plate to mix ! and listen :)

And here comes the third best of !!!

3 pearls of pure 180 BPM mental twirling Tribe (and one tune for experimental Meta-Tribe @ 160 BPM)

Are you ready for some Hardstyle Vinyl

'Music aged in time, resonating from the surface to the core through layers and sediments of stones - the strata. Four morning recording sessions with a separation between them of between three and ten months - a chronozone that will rest for a time and on which the next one will be added, thus forming the total of the six pieces of the album - becoming six strata.
'A slow-moving album that develops landscapes of subtle but continuous evolution, where we find layers of diverse nature created from different procedures, bathed in the calm waters of wabisabi, where melancholy, immensity, insignificance, the potential of the unemerged, coexistence and simplicity converge at the same time.'

With Where We’re At, Tonique & Man deliver a warm and vibrant second album blending indie pop, soul and soft disco. Staying true to the groove that has become the duo’s signature, the record reveals a more mature and personal side of Jean Tonique and Mi Man.


Both recently becoming fathers, the two musicians are entering a new chapter in their lives, one that naturally shapes the album’s songwriting: a more intimate reflection on how far they’ve come, what they’ve built, and what continues to drive them to create.


Recorded at the legendary Studio Ferber in Paris, Where We’re At also features collaborations with Girl Ultra and Rejjie Snow, bringing new textures to the duo’s sound. An elegant and generous album where pop immediacy meets more intimate songwriting, opening a new chapter for Tonique & Man.