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HIND001 features four stripped-back productions, with contributions from Alexis Cabrera, Seafoam ft. Hipp-E, Pheek & Kiké Mayor, and Muted Forms.

For the 23rd entry in our ICONYC catalogue, we welcome rising Swedish star Fahlberg and his collaborative single with German maestro Paul Brenning, ‘Show Me’. Amped by reworks and edits by Hunter/Game, BAILE, and KEVSKI, our latest delivery is a monumental EP that is bound to awe and inspire in equal measure.

Hinting at something emotionally gripping from the onset, the original version of ‘Show Me’ unfurls over a tight frame as a synthetic bed surges to the front before Fahlberg deploys a thundering bassline. Slowly, we start to sway, making our way to a break in the cloud while Brenning’s ever-alluring vocals glide over the piece in a spectral presence, immersing us deeper into the narrative, as crisp arpeggios make their way through brass swells and backing chords. Blissful, yet exciting at every turn, ‘Show Me’ is a dazzling collaboration that invites us to revel in the possibility of a new, warmer dawn.

Taking ‘Show Me’ in a slightly darker direction, Hunter/Game presents us with their own interpretation, an introspective juggernaut that is constantly evolving as it walks the tightrope between light and shadows like only this acclaimed duo can.

Adding a new layer of depth to this package, BAILE gifts us a wondrous remix that fragments ‘Show Me’ in a different light. Employing broken beats and lush, evocative moments, this softer twist is a mesmerizing creation bound to wash the pain away.

Completing this aural gem that is ‘Show Me’, avant-garde electronic-classical duo KEVSKI unveils an exquisite masterpiece, deconstructing the original skyscraper into a sublime menagerie of textures and melodic flourishes that blossom somewhere between melancholy and hope.

It's counter intuitive perhaps to react to the increasing noise of the world, not by adding to it, but by seeking quiet. Or something close to it.

Arrival's debut EP does just that - assembling immersive aural environments and delicately detailed backdrops - setting the scene for the perfectly pitched deeply melancholic meditations of Britain's least known and most valuable guitarist, Kevin McCormick.

BYAMM (pronounced 'bye-yam') is a retro soul studio project that was born during the 2021 lockdown. The focus is on soul music with strong themes, memorable melodies and catchy hooks layered with synthesizers, grooving bass lines and a hint of 1980s influences.
Central to BYAMM is a strong song-writing etiquette and a classic and timeless appeal to all ages.

BYAMM stands for Barima Yaw Asante Making Music. Barima is the songwriter, keyboard player and producer. Lead vocals are handled by the seasoned Ade Omotayo, whose credits including working with the late Amy Winehouse, the original members Amy Winehouse Band and the Gorillaz.

BYAMM is supported by a collective of professional session musicians recruited from around the world.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Lewis Taylor is a rising 20-something house head from Newcastle who shows off his chops on this new one from Ebullience. Ebullience is a good way of describing his take on tech and minimal, too. There is plenty of cheer in the lively synth work of opener 'Do You Wanna Come Party', to which the answer is yes, please, very much so. 'Satisfaction' has its head up in the clouds with more wispy cosmic synth motifs, zippy grooves and silky pads that are luminous and pure. 'Optimism' strikes that same balance between low-end oomph and celestial melodic charm - a fresh, future blend that is perfect for summer. 'Still Dreaming' closes with more mature melodies and accomplished arrangements that quietly buzz.

Shep is back on his People Pleaser's label with a fourth transmission of groovy tech house that blends drive, cosmic atmospheres and just the right amount of vocal and melodic hookiness. 'Reach For The Tongs' is warm and dubby, one to get the head down and lock into. 'Pulver Zimmer' has warped synths and glassy percussion, bringing the early Terry Francis style drums to life and 'Rave Gravel Drive' gets more unhinged. The synths are wonky, the sound designs more trippy and abstract and the groove is minimal and synthetic. 'Mutzki' closes with a subtle, warming rush of low-key joy thanks to the muted chords that ride a slick groove.

DTM011 features Jani Ho, a Detroit Techno Militia RECON:313 artist from Melbourne, Australia. Jani’s “All killer. No filler” approach to his live performances is elegantly reflected on his debut release on DTM. Unapologetically tough, and unapologetically soulful.

2026 Repress

A mastermind when it comes to crafting quality electronic music across the house spectrum, expressing various shades of his vision, French DJ/producer Traumer has solidified himself as one of the country’s finest exports while his alias has become a home for heavily sought-after minimal-leaning house productions that journey through expansive textures and trademark percussion. After combining with Romanian favourite Cristi Cons early last year as part of the imprint’s collaborative ‘X Series’ and following a series of releases on his own gettraum label, the Parisian makes a highly-anticipated solo return to Enzo Siragusa’s FUSE as he unveils his latest four-track offering in the form of his ‘Nectar’ EP. The title track ‘Nectar’ heads up the package and brings a blend of snappy drum grooves and zippy synths beneath hooky female vocals as it builds into a rolling anthem, while ‘Lamerci’ gets dubby with crisp percussion shots guiding hazy stabs and deep grooves. On the flip, ‘First School’ strips things back and focuses on a snaking bassline and signature silky melodies, before closing on the interwoven textures and shimmering tones of B2 ‘Rodage’.

We couldn’t start the new year in a better way than sharing with you our upcoming release.

We are glad and proud to have on board Mr. Pauli. Ingmar needs no introduction, his unique style has been an inspiration for a long time with remarkable releases on Clone, Viewlexx and Bordello A Parigi just to name a few.
After 9 years from his last vinyl appearance, Mr. Pauli is back with a 3 tracker EP showcasing his melodic and emotional side. A release devoted to the Italo-Disco and Synth Pop sound, with an electro touch here and there, that will bring you to another deep dimension towards your inner self.

Also Playable Mono, the nom de guerre of Rafał Lachmirowicz, channels musical greats and the romance of Italy with the Firenze EP. “Neverland” reimagines Giorgio Moroder’s iconic introduction of “I Feel Love”, undulating arpeggios and clean kicks giving way to an addictive tongue-in-cheek melody of laser futurism and eastern influences. “Firenze” follows. Broad analogue bars call to mind the works of Patrick Cowley, disco funk flirting with a spoken word tribute to Florence in this bright and bold track. Our next stop off is “Bergamo.” Low-slung, this smoky number is primed for the night. Thick thrums of bass are punctured by piano keys and toms, robotic pulses and trills adding a 1970s sci-fi groove to the proceedings. Turning the tables is “Breakfast Date.” Slow and dreamy, this early morning lounge affair lowers the tempo. Considered and thoughtful, meandering melodies border the blurred lines of jazz and funk. The words of “Firenze” are left in the wings for the instrumental close, Lachmirowicz’s synthesizers taking the limelight in this uplifting finale. A 12” that encapsulates the expansive sound of Also Playable Mono.

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

2026 Repress

Originally from Malaga but a Berlin resident for the past 13 years, Carlo is thrilled to unveil his first album released under his own record label, Bisiesto. This label stands out for its unique approach, releasing just one album every four years on leap day, February 29th. In contrast to his previous style, this album blends all his musical influences into a unique mixtape of instrumentals.

Reminiscent of Nightmares on Wax, Kid Loco, and Mushroom Jazz, this album offers a unique auditory experience. Lora Ute brings a hint of tangy mellowness to ‘Because’ balancing dreaminess with playful notes, while Jose Fernancaster, with his immaculate guitar skills, infuses ‘Todo Mal’ with sexy guitar riffs and wahs. Intr0beatz's hip-hop touch enhances ‘Lemon Haze’, while Black Loops, a percussionist at heart, collaborates on ‘Midnight Cruiser’ to encapsulate the solitude of night-time city cruising with a lo-fi sound. Piek rounds off ‘Esperanza’ with an empowering bassline, tying the track together with a golden ribbon.

Collecting Orders For 2026 Repress

As Soul Capsule, Baby Ford and Thomas Melchior made some of minimal techno's most accomplished records. It has been many years since they stopped turning out new material - sadly - but their archive tracks are still in hot demand and undeniably relevant. While 1999's 'Lady Science' might be their most famous offering, this EP from 2001 on Aspect Music is no less vital and it will currently cost you well over L250 on second-hand markets. It is Ford's Trelik label who reissues it here in all its glory: the entirety of the a-side is taken up with 'Law Of Grace,' a delightfully deep and breezy minimal dub house roller with pensive chords draped over the frictionless drums. 'Meltdown' has a more experimental feel with brushed metal drums beneath a wordless vocal musing. The cult 'Lady Science' (Tek Mix) is also inched with the whole package being remastered by D&M to make this one utterly essential.

Die legendäre Trance-Hymne „Traumwelten“ kehrt zurück – kraftvoll neu interpretiert von Talla 2XLC und Das Licht (aka DJ Dean). Diese farbige Maxi-Vinyl liefert zwei kompromisslose Club-Versionen eines absoluten Kulttracks.

Side A – Traumwelten (Recreate Mix): Mit einem pulsierenden Tempo von 140 BPM entfacht der Recreate Mix ein wahres Feuerwerk aus tiefen Basslines, treibenden Drums und schimmernden Melodien. Die gewagten Breakdowns steigern die Spannung und treiben die Energie bis zum Höhepunkt. Eine hypnotische, gesprochene weibliche Stimme sorgt für mystische Vibes, bevor er in einen euphorischen Rausch aus aufsteigenden, mitreißenden Melodien übergeht.

Side B – Traumwelten (RRAW! Mix): Dunkler, härter, kompromisslos: Der RRAW! Mix startet als druckvolle TechnoTrance-Fusion, die mit massiven Basslines und satten Techno-Kicks beginnt. Dunkle, deutschsprachige Vocals und atmosphärische Effekte fügen dem Track eine immersive, mystische Tiefe hinzu. Der zweite Drop überrascht mit einer euphorischen Melodie, die von technoiden Rhythmen in ekstatische Trance-Elemente übergeht. Dieser Mix glänzt durchseine Vielseitigkeit und eignet sich sowohl für Techno-DJs als auch für Trance-Crowds.

Ein starkes Comeback eines Klassikers – zeitgemäß, druckvoll und ein Must-Have für alle Vinyl-Liebhaber.

Lovski, alias Igor Sekulović, is redefining the Balkan musical landscape. A master guitarist and erstwhile “Projekt Rakjia” band member, he forges an uncanny blend of traditional folk melodies with dance, electronic and rock energy.
His debut solo album, Discoteka Jugoslavija—produced in collaboration with Napoli’s producer Raffaele “Whodamanny” Arcella—ventures through Italo-disco pulses, reggae grooves and psychedelic swirls, all anchored by the call-and-response warmth of Balkan traditional instruments. Each track feels like a borderless road trip: hypnotic rhythm sections give way to soaring guitar solos that nod to ancestral folk tunes, while propulsive synth arpeggios push listeners into tomorrow’s club.
Lovski’s signature lies in his seamless genre alchemy. He honors regional roots without succumbing to nostalgia, instead reframing folk elements as raw material for global dancefloors. As a performer, his live shows pulse with communal ecstasy—drawing dancing crowds around campfires of light, smoke and bass.
In a scene ripe for innovation, Lovski stands out as both torchbearer and trailblazer—proof that the Balkans still have surprises to offer, and that the old and new can coexist in brilliant harmony.

After a short break, CEP Records is back and opens a new chapter with the X-Series. An imprint dedicated to raw club energy and oldschool-inspired sounds that redefine the label's identity. Leading the way is riko, the head of the label, with a four track release.

'Whoa 55' on A1 pulls you in with its striking vocal and weighty bassline, delivering a perfect balance of groove and drive. 'Le Bom Bom' follows with a deeper feel, clean drums and little sound bits that play nicely around the low end. On the B side, 'Drum God' goes all out and hits the hardest, made for late nights and busy rooms. Closing it off, 'Phrygian' opens things up again with a mix of catchy melodies and deep frequencies that stick with you.

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

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

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

Alien Tropical: the perfect title for the second album by Servicio Al Cliente (Customer Service), the project of Colombian-born, Berlin-resident Juliana Martinez. If you were cannily seduced by the debut self-titled Servicio Al Cliente album, from way back in 2021, the wait for a follow-up has felt long, but Alien Tropical was worth the wait. Indeed, it feels like the perfect way for Michael Mayer’s Imara imprint to introduce itself to the new year: an album full of play and spirit, verve and sparkle, rich with pop spirit and with one eye smartly cocked toward the dancefloor.

That first Servicio Al Cliente album was a smart statement of intent, and a wonderful, unexpected turn from Martinez, who’d already been through plenty: being expelled from private music lessons,
training in law, joining a group named Las Palabras Correctas. 2021’s Servicio Al Cliente landed on the turntables of anyone with discerning radar (Ada included “Romántico” on her Connecting The Dots mix for Kompakt, for example). With Alien Tropical, Martinez works the sensual sway of her music even harder, building six luscious songs that twist chant-like repetitions into hypnotic mantras, each song the perfect confluence of melody and mystery.

When asked about Alien Tropical, Martinez pieces together fragments of memory: winter explorations, long road trips, navigating the highways and the heart. “I had been driving a lot at the time on the highway,” she recalls. “I depended on music I played in the car to manage my emotions and my thoughts on those long drives. Everything felt strange and unfamiliar on the highway, and I realised music was so psychological and my only tool to influence my feelings between highways and new places.”

So, the music becomes the narrative for where the body and the heart wants to go. That might explain the gentle yearning in Alien Tropical, and its eternal hypnotic, its sense of forever forward-motion, as though the music is flickering like the highway strip reflected in the rear-view mirror. But there’s also the skyward movement of the melodies, the way their loveliness lifts these six songs up through the clouds, like the helium balloons on the cover. From the sensual swelt

We’re back on PANORAMA Records with a stone cold cult classic from Danser’s Inferno, lifting “Sombre Guitar” off their elusive 1973 LP Creation One and giving it a fresh run on 7inch. Long treasured by jazz heads and deep-digging DJs, it’s one of those records that has been in the bags of discerning music lovers for years, moving dancers.

Musically, “Sombre Guitar” sits in that sweet spot between Latin jazz and jazz-funk – rolling congas, driving kit, tight horn lines and that drifting, melodic guitar figure that pulls everything together. It’s lively and percussive enough for the dancefloor, but still has that slightly cinematic, reflective feel that rewards proper listening too. A true jazz dance cut that works just as well at home as it does in a warm-up or end-of-night moment.

This PANORAMA edition brings it back into reach, cut loud and clear so it can do what it was always meant to do: move a room.

As ever, PANORAMA Records is about unearthing and reintroducing rare and essential music to new ears. From German jazz and Brazilian fusion to Latin-leaning grooves like this, the focus is on records with real soul and longevity, remastered with care and treated with the respect they deserve.

Ideologic Organ freut sich, die brandneuen Aufnahmen von The Necks zu präsentieren, dem legendären australischen Trio, das sich durch die Umgehung musikalischer Klischees auszeichnet und gleichzeitig die Praktiken der Improvisation, des Jazz, des Post-Rock, des Ambient, des Minimal und der texturierten, ,klangbasierten" Musik erforscht und erweitert. Das neueste Werk dieses langjährigen Ensembles, Unfold, präsentiert sich als Doppel-LP mit vier seitenlangen Tracks. Das bewusste Fehlen von nummerierten Seiten gibt dem Hörer viel Raum, sich einzubringen, und lässt ihn seinen eigenen Weg durch die Klanglandschaft finden. Die kürzere Länge des Vinylformats ist für die Mitglieder des Ensembles kein Hindernis, sondern bietet ihnen einen kompakteren Horizont zum Nachdenken, in dem die zurückgelegte Strecke auf unmittelbarere und dynamischere texturale Aspekte neu ausgerichtet wird. Die Unmittelbarkeit von ,Rise" bestätigt diesen neuen Weg, während die traurigen Töne von Lloyd Swantons Bass um Chris Abrahams' kristallklares Klaviermotiv wirbeln und Tony Bucks Percussion den Prozess in erleuchtende Free-Jazz-Gefilde lenkt. ,Blue Mountain" bahnt sich einen Weg durch das klangliche Unterholz, wobei Soul-Orgel, rasselnde Percussion, Pfeifen und hüpfende Schallwellen um den Vordergrund wetteifern. ,Overheard" behält eine erhabene melancholische Aura, während Percussion und Keyboards sich gleichzeitig umarmen und auseinanderfallen, während ,Timepiece" als sanfte Geste weiterer Möglichkeiten dahinspringt. Wie genau The Necks ihre besondere Magie entfalten - so einfach es auch scheinen mag -, während sie sich immer weiterentwickeln, kann nur vermutet werden, aber ,Unfold" beweist einmal mehr, dass Regeln und Schulen gebrochen und zu Mustern und Rahmenwerken umgestaltet werden müssen, die sich von denen unterscheiden, die wir kennen.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

Transparent orangenes Vinyl. Unter dem Titel "II - Incarnate" legen SHAYTAN ihr zweites Album vor - und festigen ihren Mix aus Doom/Stoner und klassischem Heavy Metal mit orientalischen Einflüssen. Wo das Debüt "Chapter One" (2024) noch als Beschwörungsformel diente, steht das zweite Album für die Manifestation allen Übels in düsteren, aber auch melodischen Klängen. Musikalisch bleibt die Band ihren Wurzeln treu, erweitert den Sound aber durch noch atmosphärischere Klangbilder, die auch durch den intensiveren Einsatz von Hammondorgel und wuchtigeren Bass-Sound getragen werden. Die Produktion stammt von Charles Greywolf (Hammer King, Godslave).

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Berlin lo-fi crooner Der Assistent returns with "Ultramarin", a sun-faded suite of soft-focus pop, Balearic grooves and late-night yacht moods drifting between languages, moods and references – slightly surreal, and quietly melancholic.
Following the tropical haze of its predecessor "Amnesie am Amazonas", his third album makes a slightly bigger splash: classic late-80s digital pianos, downbeat grooves and flashes of dub-reggae intertwine with subtle soprano and alto saxophone lines that drift between lounge melancholy and nocturnal jazz.
Laid-back opening cut “Wenn der Scirocco weht” pays homage to Japanese lovers rock, while the dubby downbeat title track celebrates the color blue in French, English, Italian and German, echoing situationist slogans and painter Yves Klein’s idea of “the invisible becoming visible.” Lead single “Mann am Telefon” dives into hazy yacht-pop and lo-fi soul, gradually unfolding into an instrumental outro that recalls the early synth romanticism of Vangelis.
Across the album, Der Assistent traces a playful tale of split personalities – with subtle nods to Fight Club and Blade Runner – culminating in the lush closing 80s R&B ballad “Total Confusion”.

Written, recorded, produced and mixed entirely by Der Assistent, Ultramarin also inaugurates his new imprint of the same name.
RIYL: Fishmans, Eddie Chacon, The Zenmenn.

Precisely one year after Lézire, Crush of Souls is back with his third full-length album.

The musical endeavour of Charles Rowell – active in the indie/punk global scene since 2008 with bands like Crocodiles, Flowers of Evil, Issue – is just like its creator: always cooking up something. Relentlessly.

Now, as it was perceivable by the trajectory undertaken by after his previous LP, Captive Youth leaves goth rock and dark folk aside and head swiftly towards some old school 80’s EBM & 90’s Industrial dance vibe. After all, any album exploring themes of dystopia, politics and sexuality requires a strong rhythm. So how could this new chapter not mention seminal synth-pop and body music classics such as Technique by New Order, Belief by Nitzer Ebb, Towards Thee Infinite Beat by Psychic TV and Pressure Points by Anne Clark?

Forever a displaced soul, Charles’ album number three feels like a revision of Crush Of Souls and also a reanimation of his captive youth spent moving from town to town. The energy of the wandering worker poet. Warehouse basslines, artillery fire backbeats. Romance and melancholy wrapped in barbed wire. All this and more oozes from nine new tracks that inevitably deliver that blurry sexy urban vibe that’s become the project’s trademark.
Features collabo hit single Domination with Sade Sanchez from L.A. Witch.

2026 Repress

We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.

All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville

The Libra LP finds DJ Dex searching for the perfect balance on the dancefloor. "Freeks N' Geeks" is a shameless party anthem asking dancers to get their geek and their freak on with stomping kick drums, percussion, acid funk, and hands-in-the-air horns. "Papa Was a 909" reinvents a classic Motown anthem via a relentless 909 drum machine workout. "Hoodrat" pays homage to Detroit minimalism and Chicago jack—doubles are essential for the creative DJ. "The Balance" merges an 808 kit with clever percussion, melodic chords, and sci-fi synths for a tense, building track ready for peak-time action. "Casa Oscura" takes equal inspiration from hi-NRG disco tracks and the funkiest aquatic synths of Drexciya for a vibe entirely its own. "Astrological" is the LP's polyrhythmic, thumping, big-room techno cut where cascading synth lines meet atmospheric pads and vocal samples.

Voykot closes the trilogy with PANICO EN DIRECTO unleashing its darkest chapter: Terror for kids. The definitive third act where terrifying melodies and aggressive soundscapes come with no parental advisory. Sounds mutated into pure shadows, an uncompromising immersion into electronic darkness that completes the cycle of a perfect nightmare.

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

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

James Ruskin's Blueprint Records celebrates its 30th anniversary in 2026. Kicking off the festivities Vinicius Honorio returns to the label but this time it's alongside R.M.K who makes his Blueprint debut.

Vinicius Honorio is a Brazilian-born, London-based DJ and producer whose vision of techno is built on hypnotic repetition, gritty textures and emotional weight. With a career spanning over 2 decades, Vinicius has emerged as a powerful voice in contemporary techno - raw, focused and unflinchingly honest. His productions blend relentless drive with intricate groove, often laced with haunting melodic undertones and has released music on the likes of Figure, Token, Mord andSK_eleven, as well as Blueprint.

Hailing from London, R.M.K is the alias of Fossil Archive label head Roberto, representing a faster and more intense take on his unique brand of Techno. During his 20+ year career in music, he has formed friendships and worked in partnership with other respected artists such as Trevino (Marcus Intalex), Jamie Anderson, Robert Owens, Goldie and Nastia. Although the focus is always on the very heart of the most raucous of raves, R.M.K never shies away from groove and funk

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

Calder City Development Corp. returns from Detroit with CCDC008 “Body Remembers EP” by Chicago Skyway, a raw, emotional slice of pure Detroit house energy. This is that unmistakable blend of swing, grit and soul: dusty drum programming, deep basslines and chords that feel both melancholic and hopeful at the same time. It’s music that taps directly into the body – the kind of grooves you feel in your chest before you even realise you’re moving. “Body Remembers EP” fits perfectly into the Calder City Development Corp. universe: deep but direct, underground but timeless. This is finest Detroit house designed for concrete basements, smoky backrooms and all those moments when the lights are low and the crowd is completely locked into the groove.

nagoyaka na kaze / 和やかな風 (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan - co-curated by Nagoya artist abentis for Facta & K-LONE’s Wisdom Teeth imprint.

The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the country’s most populous and industrial cities, but one all too often overlooked in terms of its cultural significance.

Curated in close collaboration with local scene organiser Yuya Abe - aka abentis - the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities. “In Nagoya, there’s a strong culture of supporting artists. Even if you pursue music in your own way, as long as it’s good, you’re encouraged to keep doing what you want”, explains abentis. “Within that environment, my generation has been able to freely bring in elements we like from all kinds of genres, combine them in our own way, and express ourselves individually. If you go to Tokyo or Osaka, that kind of freedom isn’t something you can take for granted.” Spiritually, Nagoya fits the mould of cultural hotbeds like Bristol, Detroit or Melbourne, showing that some of the most innovative creative communities form away from the glare of the capital cities. Like Detroit, Nagoya is principally known for being a major auto manufacturing hub, famous for being the home of Toyota Motors - but behind the scenes, it is quietly harbouring one of Japan’s most vibrant and forward-thinking electronic music scenes. “In a good way, Nagoya is a bit removed from the cutting edge, so you find people making all kinds of music”, explains Karnage. “If you’re making music, you feel like part of the crew, and people of different ages mix together without much hierarchy.” The city’s music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines. The artists featured come from a diverse set of backgrounds, ranging from hip-hop to noise music, but have found a common collective identity in their omnivorous approach to genre. As such, the record moves fluidly between shimmering ambient and new age (Am Shhara, DHYAN, daiki hayakawa), psychedelic minimal house (Methodd, abentis), abstract, low-slung downtempo (baptisma, Nasty Soupman) and spaceage steppas (Karnage). “I’d say the way ambient, new age and that kind of sound design are blending nicely with dance music feels somewhat new”, says baptisma, the crew’s eldest member and de-facto scene leader. Responsible for bringing artists like Basic Channel, Mala and Jan Jelinek to the city, baptisma has been crucial in establishing underground electronic music in Nagoya since the 90s, and now helps cultivate the next generation of local talent. “Artists and DJs are seamlessly mixing ambient and new age with techno, house and bass music. I think that’s a really interesting development.” nagoyaka na kaze has its roots in a one-off event held in October 2024 as part of the 10 Years of Wisdom Teeth Japan tour. Curated by abentis in collaboration with Facta & K-LONE, the showcase featured live sets from eight artists based in and around Nagoya at one of the city’s key dance music hubs, Club JB’s. Each of the artists features again here, on record, presenting an original commission produced especially for the project. The record’s art direction was led by Yudai Osawa - in-house designer for Kankyō Records, the much-loved Tokyo record shop run by H. Takahashi - and features original photos by Hayato Watanabe.

Reissue 2026

"Call Me" is an electronic/house track by DJ Dino (Dino Lenny) on Nu-Tella Records, released in 2003.

It's praised for its deep, emotional, and melodic atmosphere, occasionally shifting from darker tones to uplifting major keys,

recalling classic electronic sounds with modern touches, though specific aggregate scores are scarce.

Official 2026 reissue includes, in addition to the original and remixes by Par-T-One and Santos, the previously unreleased version by Walterino.

Mixes completely remastered by Gianni Bini at HOG Studio.

Brera Groove returns with its third vinyl release, Brera Groove 003, a various artists that bridges early 80's Mediterranean disco with a warm and vibrant touch. The project, curated by Tamati and inspired by the artistic soul of Milan’s Brera district, opens up once again to new sounds with contributions from Haverdi, Joi N’Juno and HotchPotch, each offering their own reinterpretation of these classics. Four dancefloor cuts made to recreate the atmosphere of the golden age of disco clubs, where groove, rhythm and melody ruled the night, adding a new chapter to the Brera Groove library.

There is a strong sense of place running through 'North West Tonight', as God Colony aka Crack Copies label heads and Liverpool-raised duo James Rand and Thomas Gorton sketch out a hazy, after-hours portrait of their hometown. Drawing on 80s new wave melodies and rough-edged club rhythms, the EP balances sounds of yore with present-day energy. There is crunchy, disrupted bass on 'The Column', backlit broken beat on 'Middle Eye' and more sun-kissed depths on 'Rhyll Sun Centre'. 'The Paradox' stands out as a darker, more edgy and club-ready sound while the rework by Sasha stretches the track into something built for wide-eyed dancefloors.

The gold standard edit masters at Scruniversal have decided to refocus somewhere away from their usual Brazilian sound for this latest 7". It finds the crew heading to Africa and digging deep for new grooves, with Tony Lavrutz, Scruscru & Dwaal coming correct. 'Afrika Bambaataa' kicks the record off with a laid back Afro-tinged broken beats with a sunny disposition and plenty of bright melodies that wouldn't sound out of place in a Nightmares on Wax set. On the flip side joint, 'Zulu Jam" the drums cut more deep with organic percussion scattered up top next to expressive flutes. Perfect summer vibes.

SKYLAX RECORDS presents the second chapter in a landmark 4-part saga — a secretive and conceptual series uniting two titans of French electronic music: ARNAUD REBOTINI & ACID WASHED. Following the acclaimed Winter Sequences (LAXBLACK 01) and Rebotini’s Musical Component, SKYLAX BLACK 3 pushes further into cinematic rave, electro, and techno territory. On the A-side, Artificial Darwinism ignites the EP with raw intensity — fusing early 2000s Blackstrobe energy, UR aggression, and cold wave tension into a hypnotic, funk-laced ritual. They Are Coming follows with darker, driving techno — mechanical yet alive, pulsing with paranoia and urgency. Flip to the B-side for Space Time 303, a dreamy ambient-acid trip evoking early R&S and IDM — ethereal, timeless, and drifting through time. Closing the EP, A Comet in the Northern Sky delivers melancholic electro in the spirit of Dopplereffekt and Drexciya, elevated by Rebotini’s analog mastery. A visionary statement — intelligent, bold, and essential. The puzzle continues to unfold…

Suburban Architecture are pleased to announce the second release in their 'New Town Dubs' series, following in the footsteps of the now Sold Out 'Architecture Dubs' series. Whereas 'Architecture Dubs' enlisted remixers from Drum & Bass's mid 90s golden era (among them the likes of Peshay, Blame, 4Hero and Ray Keith), 'New Town Dubs' turns its attention to the new breed of producers inspired by the sounds of Drum & Bass and Jungle's foundations.

On the A-Side, a rinsing Amen rework of 2022 roller 'Distant Response' comes courtesy of Law, the name behind the prolific Repertoire imprint. With releases on labels including Silent Force, Rupture and of course Repertoire, Law has been a major player in the Jungle revival sound for over a decade.

Over on the flip, Melbourne based producer Kloke delivers a stripped back rework of 'Rising', taken from this year's 'Vivid' EP. With releases on Future Retro, Hyperdub and Diamond Life, Kloke is a frequent collaborator with Tim Reaper and has collaborated with many of the notable producers and labels representing Jungle's new wave.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.

L’âge de la Galère :

started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère

The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.

I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.

So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.

So I created and told an audio story through my 6 tracks.

“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.

The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”

The Goblin Walk is an invitation to trace the footsteps of the eponymous creature through five swampy, dubby, liquid techno interpretations from four different artists. Label head Caldera opens with the gently underlapping space chug of 'Today', followed by Traevor's 'Reef' which turns marimba into a dubbed-out bass meditation. Caldera then features again under his Loop LF alias with 'Tiz', which pairs spectral sonic sketches with whimsical melodies that drift and float as if in a gravity-free zone. Streetfaxx then unearths a long-lost 2013 Cologne track, its patient rhythmic progression untouched by the passing years, before ambient textures take centre stage in Nightwaif's 'Xmas1 (vocal dub)' as tape experiments float over deep sub-bass, caught somewhere between 1980s new age and modern ambient minimalism. A compelling, exploratory world of sound.

Who could have imagined that Ryo Fukui had left behind a recording like this? Captured on June 8, 1977, this previously unreleased live session was recorded at the Sapporo jazz club Vidro by Masataka Ito, the producer behind Fukui’s albums Scenery and Mellow Dream. It is unmistakably the Ryo Fukui Trio of that era, yet the performance possesses an overwhelming intensity and freshness that far surpass any studio recording—excitement in its purest form.

The 16-minute, searing performance of “Mellow Dream” is just the beginning. The propulsive energy of “Speak Low”, the beautifully woven lyricism of “Body & Soul,” the blistering drive of “Love For Sale”, the weighty depth of “Mr. P.C.”, and the crystalline fragility of “My Foolish Heart”—each track is delivered with feverish brilliance. It was this very live recording, excerpts of which were evaluated at the Trio Records headquarters at the time, that ultimately led to the production of Fukui’s second album Mellow Dream. In every sense, this is an extraordinarily precious document.

Recorded about a year after Scenery, his second album retains the delicacy and emotional depth of his playing, but adds a new strength that gives the world Fukui paints a clearer contour and striking dimensionality. From the bittersweet, heart-stirring melody of “Mellow Dream” to the vibrant, exhilarating drive of “Horizon”, the album is filled with performances that shine brilliantly. It is also notable that the number of original compositions only one on the debut—has increased to three here, allowing listeners to appreciate Fukui’s musicality even more fully. Considering its maturity and the richness of its content, it may even be fair to say that this work surpasses his first album. Ryo Fukui, who sadly passed away...

This third album by Ryo Fukui arrived a full 17 years after Mellow Dream, marking his first and only solo piano recording. Alongside signature pieces like “Scenery” and “Mellow Dream”, the album includes “Voyage” and “Nord”, both written during a trip toward the northern regions, as well as “Nobody’s”, a piece imbued with Fukui’s deep respect for his mentor Barry Harris. The selection is nothing short of a delight for fans.

Here, the depth and weight Fukui cultivated as a bebop pianist blend seamlessly with the profound “Hokkaido sensibility” that had always resided within him. It is a masterpiece that truly deserves to be passed down through time.

Ryo Fukui, who passed away in 2016 after releasing only five albums, recorded this fourth work in 1999. Featuring bassist Lyle Atkinson and drummer Leroy Williams—the longtime rhythm section of Barry Harris this New York-recorded album captures the full appeal of Fukui as a bebop pianist. Centered around standards, the track selection, structure, and of course the performances all radiate intent and vitality. His assured and weighty touch, the firm yet elastic swing, and the emotion and lyricism that permeate his dynamic phrasing everything here conveys Fukui’s breath, will, and presence in vivid form. The re-performance of his signature piece “Mellow Dream” is also a welcome highlight.

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

Falter is the 5th full-length album from New Zealand-based composer/-multi-instrumentalist Micah Templeton-Wolfe, working under the moniker Stray Theories.

Templeton-Wolfe has consistently woven together the cinematic sweep of ambient music, the refined structures of neoclassical composition, and the emotional cresting arcs of post-rock. With Falter, those intersections are more deeply blurred, yet more boldly explored.

Transparent Red Vinyl.

The title Falter evokes wavering, hesitation, uncertainty of intent and yet the album stands in sharp contrast to that concept: Templeton-Wolfe’s performance here is marked by a quiet but unmistakable confidence.
From the first notes, the listener is immersed in an atmosphere in which the music feels like a cinematic means of passage, a journey toward redemption. Optimism is present, but ever cloaked in doubt; moments of
contemplative solace sit side-by-side with streaks of melancholia. One senses something looming within the sound-world of Falter. As though the heart itself can tell something is coming.

In this respect, Falter may well rank as the most affecting release in Templeton-Wolfe’s canon to date. While his earlier work had always balanced delicate textures and evocative atmosphere, here he pushes into a more expansive emotional terrain. Only the hopeful refrain “Lifelines” brings the album fully into brighter territory , hinting that redemption is possible, that the journey through doubt is not endless.

Siriusmo is back! His fourth album, "Buletten & Blumen", will be released in November 2025 – a collection of musical delicacies. Freshly prepared, spicy, and greasy, but as always with a flower on top. The Berlin-based producer, whose real name is Moritz Friedrich, remains true to himself and his distinctive style – between funk, hip-hop, electronica, soundtrack vibes, and genre playfulness. As usual, Siriusmo wanders through musical styles, embracing them, missing them spectacularly – or simply inventing them. A subtle "Berliner Allerlei". The artist himself says of his working method on the album: "I'm a whole band. Nobody masters their instrument, but everyone pretends to – always with the fear that the others will notice." The album begins with the tongue-in-cheek opener "That Could Function As A Song", an ironic exploration of the artist's own creative process. With "Buletten & Blumen," Siriusmo delivers not simple fare, but a multifaceted menu.

Guests: Mr. Oizo, Erobique, Dana (& Claire Waldorff) An album that oscillates between irony, melancholy, and absurdity.

Tracklist:
A1. That Could Funktion As A Song
A2. Hongkong House feat. Liu's Family
A3. Watch Me Fall
A4. Ok So

B1. Baum
B2. The Syntheziser Has Been Drinking
B3. Liquit feat. Mr. Oizo
B4. In Der Klemme

C1. Koko
C2. Langsame Runde
C3. Der Uhrturm
C4. Meissner Schwerter

D1. Dummdidumm
D2. Every Tree Needs A Friend
D3. Lehm feat. Erobique & Dana
D4. Irgendwohin

WRWTFWW Records is proud to announce a super limited vinyl release of Christine Aufderhaar and City of Prague Philharmonic Orchestra's original soundtrack for the critically acclaimed, multiple award-winning 2022 animated-documentary film Aurora's Sunrise. The release comes as a 45rpm double LP in a heavyweight sleeve with inside out print.
Aurora's Sunrise is directed by Inna Sahakyan, and tells the extraordinary true story of Aurora Mardiganian, a survivor of the Armenian genocide who later became an actress in the United States. The film combines animated storytelling, archival footage, interviews, and rediscovered scenes from the 1919 silent film, and one of Hollywood's first blockbusters, Auction of Souls, in which Aurora starred. Aurora's Sunrise was Armenia's official submission for the 95th Academy Awards for best international feature film. It has won over 20 international prizes.
The composer, Christine Aufderhaar, is an accomplished German composer based in Berlin and Los Angeles, with over 20 years of experience and more than 50 films to her name. Her background spans classical, jazz, film scoring, and contemporary orchestral work, and she has been the recipient of numerous awards for her work.
The soundtrack performed by the City of Prague Philharmonic Orchestra is deeply emotional, blending intimate melodies and majestic orchestral work, and weaving together themes of memory, survival, loss, and hope. A perfect fit for collectors of film scores, contemporary classical music, and limited vinyl releases.

Following the reissue of The Pocket of Fever, Ambient Sans presents the second chapter in Masahiro Sugaya’s visionary work for the avant-garde performing arts company Pappa TARAHUMARA.

Founded by Hiroshi Koike in 1982, Pappa TARAHUMARA blended dance, theater, music, and visual art into abstract, immersive stage worlds. Sugaya’s compositions became the sonic counterpart to this radical aesthetic—minimal yet deeply evocative, combining electronics, ambient textures, and delicate melodic gestures into a sound language both intimate and expansive.

Music From Alejo marks his first original stage score for the company: a work where repetition and silence intertwine with shimmering synthesizers and dreamlike motifs, conjuring atmospheres that feel suspended between reality and reverie. More structured than The Pocket of Fever yet equally poetic, the album reveals Sugaya’s gift for translating movement into sound, balancing modern composition with subtle echoes of Japanese tradition.

Reissued for the first time on vinyl, Music From Alejo includes a printed insert featuring an exclusive interview with the artist, alongside photographs from our visit to his home in Japan. Essential listening for anyone drawn to the ambient minimalism of Hiroshi Yoshimura, Midori Takada, or Brian Eno—reimagined here through the lens of Tokyo’s experimental scene of the 1980s.

New label by Innershades dedicated to 90's Belgian trance! Emotive Response's new EP Dosed Reality channels the bittersweet energy of 90's Belgian trance with soaring melodies, hypnotic rhythms, and a raw, emotional edge.

Inner Image is a series of live studio recordings by Kamran Sadeghi, an Iranian, New York City-based composer and interdisciplinary artist working across electronic music, sound art, and multichannel composition. The EP is focused on rhythm programming and non-sample-based, hyper-sculpted synthesis. Audible artifacts become compositional material, producing shifting textures while exploring auditory illusion, spectral layering, and spatial perception. This debut release on amenthia recordings bridges Sadeghi's club sound system music with his ongoing work in sound art and avant-garde composition.

Were FEX the Wildest & Weirdest German New Wave Band in 1984?

Few cult mysteries in modern music have captured the internet's imagination quite like "The Most Mysterious Song on the Internet." Eventually identified as "Subways of Your Mind" by the elusive German band FEX, the track became a viral sensation decades after its creation-and even made its way into a recent Hollywood blockbuster (Black Phone 2).

Now, two more lost FEX recordings have emerged from an old demo cassette: "Dead End" and "Sarah." And they're every bit as electrifying as the legend suggests.

On both songs, guitarist and main songwriter Ture Rückwardt joins forces on lead vocals with his former wife and musical partner Ilona Rückwardt, forming a vocal pairing that channels raw energy and eerie chemistry. What they deliver are two of the most urgent, adrenaline-fueled post-punk artifacts you're likely to hear this year-even if they were recorded more than forty years ago.

Opening with a sharp, melodic guitar solo, "Dead End" bursts forward with uptempo drive-catchy, fierce, and full of momentum. Apparently inspired by Orwell's 1984, its lyrics depict urban desolation-loneliness, homelessness, hopelessness-yet still shimmer with defiance in lines like, "Truth is amazing - hoping is like waiting."

The second track, "Sarah," dives even deeper into darkness. Mixing post-punk intensity with psychedelic textures, Rückwardt tells an imaginary story of a couple lost in drugs and spiraling through a bad trip, only to wake and realize that sobriety offers little comfort-the real world itself can be just as brutal and offers no easy escape.

Neither song makes the slightest concession to commercial trends. Instead, they feel utterly uncompromising-wild, strange, and defiantly timeless. In a world obsessed with polish and playlists, "Dead End" and "Sarah" sound like transmissions from a different planet.

Both tracks were originally recorded as demos in 1984 in the band's rehearsal room, with Hase engineering. The newly restored versions preserve the raw spirit of the original tapes while adding subtle layers to enhance their atmosphere without losing the authentic 1980s sound. FEX hint that the untouched demo versions might surface later, possibly on a second volume of their archival

Sublunar is proud to present Pareidolia IV, the fourth chapter of the saga written by its founder Sciahri.

With this new LP, the journey continues and reaches its most complete sonic expression to date a statement of evolution, depth and identity, featuring a special collaboration with Temudo.

The record opens with "Just 30 Seconds", driven by powerful low-end foundations balanced by warm, enveloping textures that immediately pull the listener in. "Groundbound" follows, deep and immersive, built around a memorable synth and arrangement designed to linger in the mind.

The voyage continues with "2014", a melodic and transportive track that drifts effortlessly into "Silent Embers", where raw power and mysticism merge into a uniquely intense atmosphere.

The second half opens with "Anime", propelled by a massive rumble beneath a delicate groove and finely crafted stabs. "Essenza" dives into darker, hypnotic territory, defining its own distinct mood and tension.
The only collaboration on the LP, "Encontro", sees Sciahri and Temudo blending their respective visions into something truly memorable, where both styles converge naturally and with purpose.

The journey closes with "Offset", a reflective and emotional piece that encapsulates a sense of travel and quiet melancholy a final moment designed to resonate long after the record ends.

Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

"Black & 'Pearlescent Transcendent Future'"-farbiges Vinyl. Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

Ryo Fukui, the renowned pianist from Hokkaido who sadly passed away in 2016, has earned global recognition among jazz listeners through his highly praised early works Scenery and Mellow Dream. A Letter From Slowboat, recorded in 2015, marked his first leader album in sixteen years. The sessions took place at Slowboat his musical home together with two young musicians whose talent Fukui himself deeply trusted. The lyricism that seeps through “Sonora”, the poetic warmth enveloping “Stella By Starlight,” the vibrant energy coursing through “Speak Low” each performance is filled with life. His touch grew more forceful, his emotions more profound, his musical fragrance even more luxuriant.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: 'They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."

Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7' 'Don't Fear The Reaper.' First vinyl pressing is Clear w/ Black swirl; 500 only / has DL card and booklet, with a poster
CD has extensive booklet and is packaged in anO-Card.

Die beliebte australische fünfköpfige Band POND schenkt mit ihrem neuen Album - ihrem elften - ,Terrestrials" einen Funken Hoffnung in einer feindseligen Welt. Als Wirbelsturm aus drängendem, verbranntem Rock'n'Roll ist ,Terrestrials" eine Hommage an die Klänge von damals, während es sich gleichzeitig unverblümt dem Hier und Jetzt stellt. Entstanden aus der Ehrfurcht vor einer besonders kraftvollen Epoche des australischen Rock, schöpft ,Terrestrials" aus dem Klang der Melancholie unter freiem Himmel, dem brutzelnden Hitzeschleier über den Ebenen und den klirrenden Hinterzimmern von Pubs, der einen ewig ergreifenden Nerv bei jedem trifft, der mit dem Klang, der Zeit und dem Ort vertraut ist. Wie ein Großteil des Pond-Katalogs ist Terrestrials ein Album über Menschen und Orte, über die Erforschung der Identität jedes Einzelnen sowie darüber, wo und wie sie sich überschneiden und aufeinanderwirken. Terrestrials zittert vor der Verzweiflung von Menschen und Planet am Abgrund, setzt aber letztendlich darauf, dass die Schönheit beider die Oberhand gewinnt.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

Im Februar 2026 erscheint zum zwanzigjährigen Jubiläum Hard to Love a Man" von Magnolia Electric Co. als erweiterte Edition und zum ersten Mal auf Vinyl. Diese Jubiläumsausgabe der ersten EP der Band enthält drei zusätzliche Tracks: remasterte Demos von 31 Seasons in the Minor Leagues" (zuvor unter dem Titel Tonight I'm So Down" bekannt) und Lonesome Valley", aufgenommen in den Echo Park Studios in Indiana während der Hard to Love a Man"-Sessions, sowie One Thin Dime", aufgenommen während der Black Ram"-Sessions in den Sound of Music Recording Studios in Richmond, Virginia. Working-Class-Rock" ist ein Begriff, der häufig zur Beschreibung von The Magnolia Electric Co. verwendet wurde. Kategorisch hatte sich die Band ihren Platz unter gleichgesinnten Ikonen wie Bob Seger, CCR, Tom Petty und Bruce Springsteen gesichert, doch es handelte sich nicht nur um eine ästhetische Beschreibung, sie untermauerten dies mit ihrer Arbeitsmoral. Im Jahr 2005 waren The Magnolia Electric Co. erstaunlicherweise acht Monate unterwegs. Diese Tatsache wurde den Bandmitgliedern selbst am deutlichsten bewusst, da sie so lange von ihrem Zuhause und ihren Liebsten getrennt waren. Daher die Bedeutung des Titeltracks. Wenn Jason Molina die Perspektive der Person einnimmt, die er zurückgelassen hat, und in Hard To Love A Man" singt: "It was hard to love a man like you / Goodbye was half the words you knew / While you were waiting for me not to call / I sent my love", dann wird die Einsamkeit und Schuld der Trennung schmerzlich deutlich. Jennie Benfords verletzliche Stimme, gepaart mit Jason Groths fließender Gitarre und Mike Kapinus' klagender Orgel, unterstreicht dieses Gefühl eindrucksvoll, unterlegt vom charakteristischen, präzisen und geschmackvollen Rhythmusfundament von Mark Rice und Pete Schreiner, während Nicole Evans eine neue, dynamische Stimme hinzufügt. Hard To Love A Man" und der Live-Favorit Werewolves Of London" wurden mit Steve Albini in seinen Electrical Audio Studios aufgenommen, die übrigen Tracks entstanden während eines kurzen fünftägigen Heimaufenthalts in Indiana bei Echo Park Studios mit Paul Mahern, dessen Engineering-Resume schon damals Projekte wie The Blake Babies, Lisa Germano und John Mellencamp umfasst. Während die Magnolien weiter wuchsen und erblühten, ließ Jason Molina die Insassen das Irrenhaus regieren.

In early 2025 Oakland-based Jerod S. Rivera released his second full length Dot-Dash, featuring a collaboration with CST co-founder Cat Lauigan and Jonathan James Carr. From the beginning we were mesmerized with the result, a perfect melding of Cat's processed spoken-word and Jerod's Buchla experimentations.

The thought of remixes presented immediately, the material extra ripe for interpolation. Enlisting friends from geographically and sonically disparate locations to present an ideal remix 12". Something for everyone, something for every setting, a tool with multiple functions...

The mysterious dub/techno/leftfield mastermind behind False Aralia dives further into territory explored on iri.gram, uptempo and dancefloor-ready in a more maximal Perlon-ish way while still embracing a half-time dub feel. Philipp Otterbach (Music from Memory, Offen, RIO) goes deeper into the guitar zone he’s been exploring, channeling Earth 2, Boris, and the like for some heavy drone. Oakland duo DJ ML and Wonja adopt their Motoko & Myers moniker (Future Times, Soda Gong), zeroing in on some choice vocal snippets that mesh perfectly with a live drum break and bassline for a Seefeel-esque version that could have come from a 90’s UK studio. Finally, Slowfoam embraces the more experimental elements of the original with a remix that starts sparse and minimal but builds into a glitchy rhythmic climax.

The 12” includes a 2-sided riso insert and a download code with access to an additional remix by close collaborator Jon Carr that twists the vocals into a throbbing industrial caucaphony.

Mit Money landete Mozzart 1987 einen echten Euro-DiscoHit, der bis heute als Club- und Genreklassiker gefeiert wird.

Treibende Beats, eingängige Synthesizer-Melodien und der typische 80er-Jahre-Disco-Sound machen diesen Track zu einem zeitlosen Highlight der europäischen Dance-Ära.

Jetzt ist „Money“ endlich wieder erhältlich – als limitierte Maxi Single auf farbigem Vinyl. Neben der originalen Version aus dem Jahr 1987 enthält diese Veröffentlichung brandneue Remixe, die dem Klassiker einen frischen, modernen Twist verleihen, ohne seinen ursprünglichen Charme zu verlieren.

Diese Maxi Single ist ein Muss für Sammler, DJs und alle Fans von Euro- und Italo-Disco.

ANiML comprises accomplished and storied electronic artists. Their Stratasonic label has become a respected home for their freeform musical explorations, with no genre restrictions. They often call on friends and influential pioneers to collaborate on releases, and the originals they produce are defined by improvisation, creative songwriting, and intentional collisions of different moods and grooves.

'Unioness' is a tender but crisp late-night sound. Soft, jazzy melodies drift over orchestral swells with drum breaks cascading below. Abstracted vocals and serene strings further enrich this sophisticated sound, which draws on soundtracks and instrumental soul groups.

Stoned Autopilot is an alias of long-time studio magician Martin Buttrich, who is also part of Better Lost Than Stupid and has a fulsome catalogue on many of the scene's most recognisable labels. His dub rides smooth waves with aching vocals melting into the mix, and the melodies looped, smudged, and smeared in hypnotic fashion.

The second rework comes from DJ Sneak, the hugely prolific and consistent Chicago house innovator whose famously raw, tracky sound keeps him in a class of one. His fantastic Big Bawse Re-Rub brings a rolling four-four groove, a delicate sprinkling of percussion, and a loopy rhythm that locks you in and zones you out as curious melodies unfurl up top.

MELODIES” is the first album released on the MOON label. The album was the first album released on the MOON label, and it marked a drastic change
in sound direction from the RCA/AIR era, as a result, the range of their work expanded, and the Christmas classic “Christmas Eve” was born from their work.
The result is a monumental masterpiece that will remain in the history of pop music. Includes “Christmas Eve” “High Air Pressure Girl,” “Merry Go Round”
and more. Includes detailed liner notes by Tatsuro Yamashita himself!

Some big names feature on the second volume of ENSOULED's 'Freedom, Innovation, Resonance' series, and they serve up suitably profound sounds. Dutch mainstay Orlando Voorn gets the hairs standing on end with his 'Deeper', a sumptuous blend of soft synths, undulating rhythms and spiritual keys. The Cee ElAssaad remix has still soft edges but a little more upright groove, and then Chicago legend Boo Williams cranks it up further with his loopy, melodically intense 'Loose Cannon'. Lastly, Nawfel's 'Fight Or Flight' is a textural deep house affair with mechanical, rigid rhythms softened by the lush pads. It echoes greats like Omar S and Theo Parrish and closes in style.

Rekids begins 2016 with the launch of an exciting new talent. South Korea-born DJ and producer Peggy Gou has been honing her production skills since her days in London. Having moved to the UK capital at age 14, she began producing tracks at a prodigious rate while studying university, honing her sound and refining her skills with advice from some of the city's most renowned DJs and producers until she had crafted an initial selection that will form her debut EP, set for release Rekids in January 2016.

Now based in Berlin, Gou has drawn on her years of DJing to help shape a sound that draws on Detroit & NYC house, as well as the African rhythmic sensibility and boogie funk influences she shares with Early Sounds duo Nu Guinea, with whom she had piano lessons and sought production advice from as her music took shape. In addition to her work as a stylist and fashion producer, Gou has also drawn on her art & design abilities to create the EP artwork.

The Art of War 12" includes two original productions plus a remix from White Material's Galcher Lustwerk. The original mix of Troop centres on a funk bassline which propels its dream-like tropical groove, while Lustwerk's remix re-purposes the track as a Fred P-esque jazz-infused star-gazer. The EP's other original production, In Sum, again asserts Gou's talent for raw, propulsive rhythms and subtle melodies.

Daniel Vangarde is the father of Daft Punk's Thomas Bangalter, and back in the 70s and 80s he was a musician who had great success writing and producing for the likes of Gibson Brothers and Ottawan on his Zagora label. He also worked solo as Who's Who and in 1979 produced a now cult favourite record of cosmic-euro disco. Two tracks from it get reworked from the original tapes here by The Reflex. He brings dubby, mid-tempo drums to 'Hypnodance' while retracing its Eastern melodic charms and sense of sophistication. His take on 'Palace Palace' is more funky and upbeat with leggy drums and elastic basslines smothered in cosmic arps.

Finnish-born, New York raised, and now Melbourne based Jani Ho has crafted a distinctive sound that can only be described as machine music with undeniable soul! Jani's hardware-driven live performances and studio productions are legendary and has earned him global recognition with multiple quality releases on the highly acclaimed soiree records. His contribution for the dolly TS series draws those direct lines with Detroit's soulful machinery techno and echo's the perfect union of rhythm and emotional depth, touching the deepest territories of techno.

An incising snare marks the return of Luxus Varta to Shipwrec. Since his last appearance, Aquamarine Puzzle in 2017, the Frenchman has been honing his craft with releases on a spread of stellar imprints. Noise Figure is the culmination of that refining process, his sound and style being forged and framed within the parameters of electro. And these parameters are immediately tested. From the warbling bass and tight percussion of The Resetter, crystalline chords cascade before a shimmering string of wintery warmth. Terse beats introduce Building Peaks, wraith-like rinses offering space for playful forms to take hold. Fudgey basslines are unsettled by sci-fi synths, a touch of the otherworldly balancing this unique cut. The warm current of Lizardous penetrates the frostier funk of the EP, delicate and fragile notes thawing the cold rhythms and glacial undertones. Silver Girl contrasts autumnal shades with brittle harmonies, angles and lines curved by sheer musical craftsmanship. Shifting into electronica, the close is a complex composition that demonstrates Luxus Varta's breadth of ability. Gentle melodic ebbs are countered by echoes of the factory floor, the human touch coming to the surface with understated radiance.

Following the last blend of four timeless cuts compiled into TRIX002 (2023), Party Tricks returns with a new VA that maps the outer edges of UK breaks and garage on the A-side, and a US-tinged psychedelic journey on the B-side.

Stitched with fleeting lines from The Usual Suspects (“The greatest trick the devil ever pulled…”), A1 Trick or Treat - Trip To The Dark Side dives into the darker shades of the UKG spectrum, setting the opening tone with a mysterious heavy stepper.Continuing down this road, Sheethanger – Discostep flips the energy with a dubby, and irresistibly groovy breakbeat workout, complete with spicy vocoders and a kinetic drive engineered to lift every dancer off the floor.

On the B-side, the focus shifts toward the psychedelic zone of the US niche. A Terran Collective - Mercury Uno rolls out in low gear under acidic, foggy tension, gradually accelerating as it climbs toward a hazy, hypnotic eruption.Finally, Earth Trance Interlude - Moonshine delivers an after-hours breaks masterpiece - the right anthem to close the record on a bright and uplifting-melodic-tribal note.

We’re proud to present the first-ever official reissue of Rold Lebo - "Dansez Otiere" — a folk-jazz treasure from 1986, originally released in the Republic of Congo on vinyl and cassette (self-released on small quantities). This vinyl gem revives the energy and elegance of a rare record, now brought back into the light — a timeless work, finally restored to its full glory.

This album alternates between the call to celebrate the ancestral homeland and cultural identity and poignant ballads about love, exile and homesickness. It is a work that is both intimate and cosmic. Finally restored to its full glory, it returns on vinyl for the first time since its initial release.

This is an essential restoration — a sophisticated synthesis of Congolese Folk-Jazz, subtle soul, and deeply introspective rhythms. Recorded in the 80s, the album channels a timeless spirit, exploring multilingual themes of ancestral identity, the melancholy of exile and the delicate games of love.

Rold Lebo’s music is a profound emotional capsule — once overlooked, now revived for a new generation of listeners eager to explore the sophisticated sounds and resonant stories of the Republic of Congo.

This autumn, on the occasion of his fortieth birthday, Ibrahim Maalouf will release his 12th studio album named "40 Melodies". Maalouf has teamed up with his longtime friend and collaborator Belgian guitarist François Delporte for an intimist duet album. The duet revisits Ibrahim's most memorable melodies, through his albums, to the soundtracks, including a few exclusive new tracks.

This album includes many renowned surprise guests (Sting, Matthieu Chedid, Alfredo Rodriguez, Richard Bona, Trilok Gurtu, Hüsnü Senlendrici, Jon Batiste, Arturo Sandoval, and others). Ibrahim gets back to his roots, and to the basics: a trumpet, a guitar, and 40 melodies to celebrate his fortieth anniversary.

ROTCIV is back with his new EP ‘Memory’, which marks the 20th release on Beartrax’s label Melodize. Throughout the record, the Berlin-based and native Brazilian producer explores his signature dark, mysterious, and atmospheric vibes shaped by the underground and queer club nights and dance-floors that fuel his sound, refined by over almost 30 years behind the decks.

Maintaining Melodize’s specialized sound deep-rooted in moody electronic principles, the EP opens with ‘Memory’, a piercing, dark, synth dynamic alongside rich tonal textures in both harmony and melodies alike. Unapologetic, yet calming and reminiscent of a slow drive through the winter nights; cold, yet bold, sharp, and comforting.

First to remix ‘Memory’ with a nostalgic, synth-heavy 80’s remix is Frankfurt-based DJ, producer, and visual artist Chinaski. Integrating his signature bold synth hooks into the track, Chinaski knows how to roll in with longing sentimentality. The remix features a bouncier approach with re-envisioned acoustic percussion and catchy synth arps, along with an eery dark disco feel.

On the B side, Rotciv kicks in with ‘Trintage’, which gives a sinister sensation with its hypnotising bass synth lines alongside contrasting, choir-like pads. Seeping with articulate poly-rhythmic synth arps, Trintage guides the listener to be indulged into a dream-like state on the border between both digital and analogue soundscapes, blurring the lines between fantasy and reality.

Next up is New York-based and founder of Samo Records, Facets, who takes on the next remix for ‘Trintage’ with a more electro-grunge techno approach consisting of heavier four to the floor kicks in company of Rotciv’s hypnotic textures. Having shifted the synth melody rhythmically, a sense of space and tension is created within the soundworld of this track. The play between gritty bass-end synths along with softer, textured high-ends helps emphasize the groove injected into this remix.

One last remix of ‘Memory’ by Melodize’s own label founder, Beartrax, rounds out the EP. Available exclusively via digital bonus, Beartrax features his deeply hypnotic aesthetic by driving in ethereal synths alongside cosmic arps and slow-rolling rhythmic and pulsating groove lines.

Silky Beats are back for their third various artist release.
This sixth edition on the series brings together life long friends alongside friends of the label, Silky Beats Tuition students and demo submissions; for a varied and club ready five-tracker.

Boss Priester, Dingo, Lewis, Pete Melba and Ben Diggins deliver some highly contagious dancefloor grooves with garage, tech house and minimal influences at the forefront.

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.

Tom Joyce’s sought after Sounds Benefit label marks their milestone tenth release with “7 Years Of Sounds Benefit”, a carefully curated selection of essential artists and rising talents presented as a double vinyl LP. The two slabs of wax manoeuvre between innovative electro and refined flavours of house and techno for trained ears.

First up is a reissue from S-Max, New Delhi Projects, previously released on Below back in ‘99. A chugging display of sounds that were way ahead of their time. After featuring on SND002, Ben Cohen makes his comeback on the label with Short Night, a breakbeat journey which boasts beautiful and emotive chord progressions. The B side features somewhat of a rarity as Etienne shares a track, Gateway Experience, futuristic energy from the accomplished producer, layered with subtle yet effective acid tones. Label head Tom Joyce delivers 7:15pm, a dreamy quest through melt in your mind synths and punchy electro drum patterns.

As we approach the second vinyl, we uncover further gems from the archive as Lowtec kindly shares his unreleased La Java 2014, which was created circa. 2000. Javier Carballo and Aniano have been making positive movements with their Hdz moniker in recent times, and Moog is another stamp of approval, a warm bass line converses with the crisp drums and spaced out elements. On the flip, Berlin based Englishman Rob Amboule turns out a killer elasticated groove which takes you for a late night shuffle in Scrap It. Huge fun for the hazy hours on the dance floor. Nuversion, formerly known as Juliano, showcases his debut track under this name with Crepuscule, addressing further pensive moods with his classy production. Ending the fantastic release in a meditative state of mind, cruising on sweet melodies.

2026 Repress

One of the leading names in contemporary underground music, Guy J, embarks on a new journey. As a dedicated futurist and sound enthusiast who pushes boundaries akin to science fiction, Guy delivers the first track on his new label with an abstract vision of the layered future of sound. This 15-minute preview of Guy J's forward-thinking, innovative work indicates a promising future for his label. Experience the birth and transformation of a new era in sound from day one!



Every beginning carries excitement and unpredictability, requiring something extraordinary. Whether rooted in creationism, biblical narratives, or the Big Bang Theory, both theological and scientific origin stories resonate with events echoing millions of years into the future. One of the leading names in contemporary underground music, Guy J, embarks on a new journey. As a dedicated futurist and sound enthusiast who pushes boundaries akin to science fiction, Guy delivers the first track on his new label with an abstract vision of the layered future of sound.

From the opening patterns till the end, A Million Years From Now offers an adventure, blending moments of free-flowing thought with a perfectly engineered audio collage that evokes a spectrum of abstract emotions-from melancholia and psychedelia to breathless excitement and, ultimately, pure euphoria.
The layered creativity transcends realism, leading listeners into a state of trance. The second piece, Just Rain, kicks off with a bass-heavy, pumping kick drum that vibrates speakers on any sound system.
However, Guy J transforms this from a rhythm-based track into a melodic epic. Its power lies in the seamless transitions and manipulation of effects and in the compositional structure that evolves over the eight-minute arrangement. Despite its subtle atmosphere, the melody culminates in an explosion of emotions that stimulate every frequency of the audible sound spectrum.

This 15-minute preview of Guy J's forward-thinking, innovative work indicates a promising future for his label. Experience the birth and transformation of a new era in sound from day one!

2026 Repress

When Guy J launched his new label, Early Morning, it was clear each release would carry his signature intensity. Now, with this third release, Guy J continues to prove that Early Morning is an intimately personal venture.

Comprising nearly 15 minutes of music, the material presents a hypnotic experience through two meticulously crafted tracks. The opener, Silver Lake, showcases the hallmarks of his style, building layer upon layer until the arrangement transforms into a dynamic fusion of deep emotion and unbridled energy. With a controlled balance of musical motifs, frequency shifts, and refined arrangements, the track oscillates between moods, culminating in an exhilarating high made to ignite the dance floor.

The second track, Evo, opens with a melody-infused bassline that nods to the 1980s, interwoven with synths reminiscent of early Frankfurt's electronic scene. Overlaid with vocal elements evoking meditative depth, Guy J uses every technique in his repertoire, shifting unexpectedly between structured sequencing and bursts of psychedelia. The track takes listeners on an immersive, unexpected journey.

This third release from Early Morning solidifies the label's vision, promising a bright future for dance floors worldwide.

2026 Repress

Since its inception in 2016, Cornucopia has been a musical project synonymous with creativity and depth. The name itself, rooted in ancient mythology, symbolizes abundance and prosperity. Today, it evokes the same spirit- a metaphorical horn overflowing with ideas and innovation. This ethos emerges in the latest release, the fifth offering from the new label run by Guy J.

The music is a testament to artistic richness and a celebration of sonic exploration.
The release opens with Remember Me, a mellow yet groove-infused track tailor-made for sunset moments by the sea. Built on hypnotic layers, it evolves into an atmospheric journey that blends joy, subtle ecstasy, and vibrant energy. In an age of musical hyperproduction, Remember Me is a reason alone to celebrate Cornucopia's return. Yet,it is only the beginning; the unexpected euphoria unfolds as the release progresses.

Seasoned partygoers often categorize tracks by their vibe-some are designed for the night, while others are for the early hours. The title track, Early Morning, is an ode to the latter, crafted to accompany the most dedicated dancers as they greet the dawn. Driven by uplifting arpeggios, the track radiates unfiltered positivity, eliciting smiles and a deep connection among those on the dance floor. Already road-tested in DJ sets, this euphoric anthem has been hailed as a secret weapon of underground music, delivering pure joy with every beat.

Released by the Early Morning label, it is a fitting finale to this remarkable collection. With its undeniable potential to become a future classic, Cornucopia's latest offering is an experience that lingers long after the final note.

Phase alternations arise where overlapping waves diverge in phase, revealing the hidden
geometry of sound. A phenomenon that Peryl deliberately allows to happen — thus placing
the physical and technical aspects of music at the center of attention. His new album
builds on a fundamental idea of electronic music — but reimagined.

The person Peryl and his needs steps into the background during production —
functioning merely as a channel that intuitively receives and transmits what long-studied
machines, in dialogue with the subconscious, collectively bring to the surface.

The result is a collection of nine tracks, like emanations of precisely crafted analog
synthesis. No sound returns the same way twice. This fragility fuels the urgency — a
creative necessity to listen, to commit, to allow form to arrive before it dissolves again.

Rhythm is no longer on the grid, but a series of small shifts, offsets, and delays. Loops fall
slightly out of sync. Deviation creates friction, and friction creates energy. Through the
layered interplay of phase-driven effects — chorus, phaser, flanger — the sounds begin to
breathe in alternate rhythms. Hollows emerge. Swells fold into one another.

Challenging these swells is an essential part of Phase Alternations. Effects come alive in
subtle shifts, industrial textures whisper melodies, folding and unfolding in rhythms that
emerge through their own logic.

Peryl presents the result of an experiment: the sound itself chooses its form.

Irradiated is the second LP on Appendix.files from Berlin-based sound artist and producer Kurt Reinartz Salgado. Across eight tracks, Reinartz explores the space between dub-techno lineage and ambient experimentation — what he describes as “ADHD-ambient.” Drawing from ’90s German techno and Chain Reaction-era dub, the album blends elastic 4/4 rhythms, fractured breaks, submerged bass pressure, and patient, detail-driven atmospheres.

The record moves from deep dub openings through porous rhythmic studies and warm melodic ruptures, before closing with hydrophone and geophone recordings from Berlin’s Kaulsdorfer See — grounding the LP in physical space and material listening.