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The labels catalogue is welcoming a third full feature album by no other than the young and promising producer from the UK – Phase ‘O Matic. This body of work marks the second LP by the artist in five years therefore to say the excitement levels can be measured by the excitement meter and these levels would be scientifically speaking - through the roof. From the opening track “Welcome to the Night” to the closing “The Weapon” which is named after the title of the album, the artist has demonstrated his impeccable production skills and knowledge of the 90’s sound with the modern twist applied. Over the years of hard work, he has developed his own sound and from what can be heard here safely could be said that this release is most definitely the weapon of mass destruction which has been added to the artist’s collection of releases. Straight from the mind onto this 12” canvas for you to enjoy.

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

2026 Repress

Brooklyn duo Fundido team up with Philadelphia's Universal Cave to press their first physical release titled ‘Paradise Tempo’, a love letter to dance floor music that sits in the cross section of the tougher sounds of the city and the softer sounds of the balearic and the backwoods.The A side kicks off with a flawless downtempo mix from California based Dirty Dave and Alex Pasternak, who find a rare cover of the Cathy Denis classic and refurbish it to perfection. Next up is ‘Emotional Jungle’, a jazzy midtempo weapon led by a massive saxophone hook and edited to optimum club efficiency by NY based Nick Stropko. LA via Serbia’s Masha Mar unearths extremely rare gem ‘Take Me to Mecca’ and reworks it into a dreamy midtempo journey that carries both a children’s choir vocal and a middle eastern synth melody effortlessly across a foggy dance floor. And closing out the A-side is the wonderful ‘Charlie’s Vision’ from Universal Cave, a spooky AOR tinged cosmic trip that is only available on this vinyl pressing.The B Side leads with balearic beach party stomper ‘Amor’ from Fundido themselves; complete with Spanish vocals, lofty piano jamming and a contagious growling bassline. Next up is ‘Sex-O’ from Seoul man Tucan Discos, who reworks a tribal classic into a hypnotic and seductive club mix; followed by ‘Freak Estilo’ from Spain’s Ritmal Astral boss Orion Agassi who offers a bumping freestyle breaks mix with an addictive r&b vocal hook. Last but not least, the ‘Be Careful Operator’ edit from Miles Felix aka Sisserou closes down the function with a block party jam swimming with jazz, swing and soul.When asked what visual imagery they had in mind for Paradise Tempo, the prompt given to artwork maestro Ray Fernandez was ‘salt of the earth utopia’ and ‘working man’s paradise’ … and Ray delivered exactly that. Enjoy Paradise Tempo !

The initiatory journey begins with a key.


A veiled, mysterious key, received as a gift—who knows from whom, or why.
The Veiled Key is the debut EP on Paradisal Records by Edoardo Marino aka Edo Ecker, and it’s also a promise: the promise of unlocking still-unknown sonic doors.

Another artist Made in Sicily, another child of Mount Etna, with a background in classical piano that soon evolved into a remarkable electronic sensitivity.

The record explores dance, techno, and electro textures on the A-side, while the B-side delivers a vocal that lingers in your mind—before closing with a true musical poem.

Back in 1999, nestled in a cramped box room in his parents’ house in Cambridge, George Aretakis, one half of the newly-formed “I Like It” label (ili records) was on a sonic mission. Fresh from releasing their debut 12" All Alone by Hal, he dove headfirst into the world of self-engineering — no acoustic treatment, a sketchy Yamaha sound card, and a PC with a mind of its own.

What came out of that chaos is a collection of raw, imaginative tracks that blend hardware glitches with human quirks. Computer Rage was born from a technical meltdown — literal computer voices, warped vocals, coughing, and all. Its sibling, the Silicon Circus Mix, takes that same glitchy DNA and pushes it even further into bizarro territory.

Then there's Space You Know — a groovy slow-burner driven by a sticky bassline and the haunting vocal of Katie Jeans (courtesy of friends at Tummy Touch), chopped and recontextualized into something beautifully strange.

Rounding it out is Environ Mental, a moment of playful spontaneity made in a single night. Early morning birdsong, passing cars, and absurd vocalizations collide in a whimsical microcosm of lo-fi joy.

This release is a love letter to the unfiltered creativity of early bedroom production — messy, noisy, and bursting with heart. A must-have artifact for fans of DIY electronica and late '90s experimental house.

Four Flies is thrilled to present the very first release of Gianfranco Reverberi's hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".


In 1973, a mysterious 45 rpm single surfaced under the name 'Sharon Chatam e la sua Orchestra.' The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, "Psicolimite," was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the 'Sharon Chatam' moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible.


This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.


While the film, despite some critics praising it as "psychotronic," is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.


Reverberi's reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).


But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.


The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks.


Available from November 22!

2024 Repress

The ever-reliant Deepchord kicks off 2014 in his usual stylish way with two deep cuts in the Luxury EP. After last years jaunt into the ambient with 20 Electrostatic Soundfields, Rod Model return to the world of slick beats and even dreamier synths and atmospheres.

Luxury 1 ebbs in majestically as beautifully crafted layers of synths glide across field recorded drops of water that instantly play with your senses. Pumping sub bass fills the rest of the spectrum as Rod does what he does best by creating an unending slick groove, pieced together by crisp percussion.

Yet more atmospherics come into play in Luxury 2 as otherworldly field recordings are brought to life through the use of Rod's unique processing and layers of dream state synths. A perfectly worked groove seems to come out of nowhere and glides gently under the atmosphere; again subtle percussion ties everything together seamlessly.

The master of Deep Techno strikes again with nothing short of 2 elegant works that typify his skills as a producer.

Pan-Pot - Luxury 1 +++++
Alan Fitzpatrick - digging this! excited to play it!
Steve Rachmad - Luv Luxury 2
Joel Mull - Lovely warm music. Timeless pieces right here.
Jonas Kopp - cool vibes over here , thanks.
Tommy Four Seven - thanks!
Markus Suckut - deepchord as I like him!
Martin Landsky - yep...both tracks are brillant..Deepchord never disapoints....
Nadja Lind/Klartraum - what a luxury indeed :) Happy New Year!
John Selway - into Luxury 2
Stacey Pullen - cool thanks
Shlomi Aber - another cool one from soma
Heron - This deepness is more than impressive. Completely mindblowing!
Manic Brothers - Both tracks are super fat ! Thank you :)
Toma Hades - Epic tracks ! it sounds like real film music ! love it ! :)
Daniel Stefanik - follow them from the beginning. i love it! thx.
Vector Lovers - Lovely mixes, really warm production to chase those winter blues away. Great start to 2014!
The Welderz - Great opener tracks !
Master-H - Fantastic release! I Love DEEPCHORD!
Hermanez - love the sound from deepchord, thank you
Kazumi Ihii - Quality release as usual from Deepchord

The return of Roy Of The Ravers is always a moment for Emotional Response. Alongside, the infinitely heralded debut that was the 2 Late 4 Love EP in 2016 and the later Emotinium ’23 remixes, there has been the While Line Sunrise series examining the ambient, experimental electronics meets braindance techno releases that showcased lost archives from the late 90s to today, here reaching the 3rd installment with 2 EPs of more machine-driven acid funk.

Following the grand expanse of double LP White Line Sunrise II and its subsequent double pack follow up White Line Sunrise II.I (Le Roy Soliel), III (3) aims predominantly for the dance floor. The uplifting techno of opening Primavera Anjo and squelching TB303 of Plant Earth are premier Roy, hypnotic, percussive, psychedelic purity for the feet.

The flip allows head room for the mind, the deep chords and arpeggios of G-Force signal the vortex shift, before the cinematic, rolling breaks and double bass of Glass Knife sweep far and wide. Recording over 25 years ago, the changing time signatures highlight the influence of (modern) classical and even jazz on Roy, pulsing, permeating, and pushing his sound in the moment, music thought lost that is gladly now, again found.

The second part of Roy’s return to Emotional Response and the While Line Sunrise series dives further in old Hard Drives and DATs to unearth more lost techno for the brain, heart and feet.

Ensuing melody for driving beats, Fenix Haus 6 is a TB303 blast. Electro meets acid, the focus is on the rhythm, percussion is pushed to the fore and the rest will follow. Exit Ren8 brings some melody touches to the jacked-up ride, acid melodies ride classic Roy beats, programming for the mind and soul.

As with Part 1, here the flip expands the retinae of the found sound, Cristia Theme with flourishes of IDM and industrial touches, wrapped in a sheen of acid squelches and snap hats.

The series completes with the theme, the ambient meets kosmiche of White Line Sunrise III. Minimalist keys against cathedral sweeps, motorik drums float in and are gone, a grandiose ending with, as always, a light hearted ending, Roy’s return is a welcome and an intriguing interlude.

Journeys are never just about distance. They stretch time, reshape perception, and demand transformation. With its latest vinyl split EP, Standard Deviation presents four tracks by Nastya Vogan and Phase Fatale that serves as a vessel for tracing displacement, memory, and the liminality of return. These melancholic yet powerful techno cuts serve both the concrete dance floor and moments of intimate self-reflection. Two artists--Nastya Vogan and Phase Fatale--approach Kyiv from different trajectories, but they both keep returning to the city. Vogan, a Ukrainian musician and resident DJ of Kyiv, and Phase Fatale (Hayden Payne), Berlin-based producer, Berghain and Khidi resident and founder of BITE Records, share a longstanding musical friendship. They've played B2B sets at K41 and Vogan, appeared on BITE's ''Shedding Skin'' compilation in 2023, and they share a vision for music selection, from aesthetics to philosophy. Vogan's 'Transitioning Territory' and 'This Is Not a Love Song' unravel the psycho-geography of transition. The first track captures the 24-hour journey to Kyiv as a rite of passage where 'time seems to fold; you are profoundly present yet paradoxically far from the world you left.' In this suspended state, memories surface and ordinary life recedes as the train's rhythm becomes its own meditation. Her second track explores Lacanian limerence--consciously falling for something not fully known, filling absences with personal projections as a way to discover what lies within oneself. Phase Fatale's contributions capture movement and distance with mechanical precision. 'Kekkai,' takes its name from the Japanese word for boundary, echoing 'respect my borders' ethos while reflecting on crossing into wartime Ukraine. The term also suggests a protective force field in Buddhist thought--much like Kyiv's current aura of resistance. 'Neosyazhna Rosa' (Unreachable Rose) honors Payne's Ukrainian grandmother Rose, weaving family history into his present connection with Ukraine. Both pieces balance melancholy with light, their sound palette of lush pads and rhythmic breaks crafted with K41's dance floor in mind.

SpaceWax is back with a full blast!
After a year in the making, the highly anticipated second release is finally here, and it’s well worth the wait.

Lithuanian DJ and producer Tourman is on board for this mission, delivering a four track EP that covers a wide spectrum of hypnotic and dancefloor ready sounds.

The A-side kicks off with 'Colourless Tasteless', a stellar bomb, an absolute floor destroyer packed with energy and mind bending soundscapes, followed by 'Yucatán', an acid infused roller designed for trippy dancefloor moments.

On the B-side, 'La Wamba' shifts the mood into a mix of hypnotic tech house, rolling synths and summer infused vibes, offering a versatile selection perfect for any set.
'Clear Sign' closes the EP with a blend of warm summer vibes and infectious rhythms.

With limited vinyl only availability, Yucatán EP is a must have for selectors looking to bring the Spacey vibes to the dancefloor.

The 14th release on Ohm Series features tracks by Bluetrain aka Steve O'Sullivan, Fletcher, Rai Scott and Anthony Georges Patrice!
This is one of the strongest releases so far on the series, curated again by label boss Bjarnar Jónsson aka OHM.
Don't miss!

Spiritual Rhythms by Mix’Elle, the fourth release on Portuguese label angel, is particularly special for a couple of reasons: it’s the artist’s first record (a true triumph at that) plus she is a resident at the night series that originated the label itself. It’s truly an all-connected type of affair. This EP taps, in a personal and intentional way, into the very foundations of jungle and drum n bass, taking us on a soulful ride permeated by Mix’Elle’s influences while incorporating her artistic vision, one that was shaped through hours behind the decks in underground drum n bass parties for well over a decade.

The record opens with title track ‘Spiritual Rhythms’, a 174 bpm mantra-like roller clocking in at 6 minutes with the textured pads and the realness you could expect from a Rufige Kru classic. A fat sub underpins it, urgent spoken words remind us what we’re here for: ‘it comes from the drum. and the drum is something spiritual’ as congas play briskly into the groove.

Things slow down significantly for the second track, ‘Angel nights drop tha bass’ - a signature floaty pad and a drum break maintain a steady continuum. A hopeful chord progression is offset by the sharpness of the drums, the bass gluing it all together with the help of an archetypal stretched vocal. Everything is in its right place - a genre veteran is very clearly at work.

‘Touring’ features a mischievous low end, as if a jazzy double bass were played by a dub experimentalist. The funkiness is infectious, with off-tempo string stabs and a mutating filtered breakbeat that feels alive - a vocal pad chants throughout, adding a layer of wide-eyed enchantment.

Percussion never falls short in this record, and the closing track begins with nothing but a shaker, toms and congas - evolving to an elegant, dreamlike yet crisp piece, led by a prominent bassline, its washes and wobbles re-arranging our chakras. Spiritual Rhythms indeed.

angel is a label run out of Lisbon by Violet. A sister label to naive, angel tries to portray the party series of the same name - a bass-led, smoke-drenched celebration where the main room is dedicated to dnb and the second explores adjacent stylistic fringes like dubstep, trip hop, dub or jazz.

Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.

'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.

‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.

'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.

'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.

Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.

Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.

Ewan's Makati EP, named after his birthplace and dedicated to his mother, draws inspiration from his earliest memories of life in the Philippines. As a house music producer in Perth (now Melbourne) for over 25 years and releasing dozens of records ... this one hits close to home and his heart as a positive, affirming set of cuts for your ears and feet.

The record starts by jumping onto the mechanical funk of JEEPNEY. A roving mural of quirky synth rhythms riding on a solid stomping house groove.

PELOTA finds the beat and bass marking firm lines of a game of call-and-response. Bouncing from wall to wall, the melodies trade licks while a stoic flute tops out the dance.

On the flip, SEREMONYA mixes spritely conversing synth lines on alternating chord stabs and sustains. With the erratic bass and matching snare guiding both anticipation and reflection as equal partners.

SKYFLAKES encourages the listener's mind to run away with a simple mind-object of the past. As a downtempo hymnal of chords, pads, strings and bells it leaves us high in altitude and higher in hope.

Acoustic Vision’s outlet Human Endeavour nurtures yet again its creators’ artistic persona and brings out into the world the second techno installment.

Characterized by a euphoric hypnotism, it carries the listener through a wide spectrum of influences. From A1’s subtle Italo influences to the last track—a more modern approach to a precise yet ethereal piece—the record finds room to fit everything from vocoders to mind-bending arpeggios and completes the package with a remix from the techno veteran Allen Saei, better known as Aubrey. His Solid Groove legacy manages to bridge the early ’90s sound with the sounds of today and tomorrow. If you’re looking for a strong yet fresh techno record, I have most likely found your piece right here!

Back from the Rendez-vous at Rimini... All the Alden Tyrell classics finally available on vinyl again. Remastered by the man himself to make his tracks, that inspired a generation, ready for the next decade.

Another edition of mental dance floor demolishers cut to ribbons and reassembled from the mind of the one-and-only MEMBERS ONLY. In the hands of a skilled selector, stand out cut "THEM ROCKS" is capable of inflicting immense damage to even the most hardened dance floor. Use with caution

I think "Divide & Conquer" is so far the only tune on Future Retro London that I've signed after hearing it on social media. Friske posted a clip on his Instagram profile of a tune he was working on at the time and I instantly messaged him asking about the tune and what the plans were for it. He was making it with his own label, Requisite Music, in mind but thankfully was willing to let me have it for my label when it was done. The tune blew my mind when I first heard it, and I knew that it was something that I needed to release. I've been a big fan of Friske's music for years so it's great to finally have him on the label, alongside a remix done by Gremlinz & Rumbleton.

Around the same time as that, IJO messaged me on SoundCloud with a bunch of unsigned material, after I'd earlier expressed interest in having his music on the label. Of the tracks he sent me, two called "Glitter" & "Mark 11" caught my interest but out of curiosity, I asked him if he could combine the drums from "Glitter" with the melodies & sounds from "Mark 11" which he did and it sounded fantastic. I wanted to get someone to remix the tune and when I asked IJO's opinion on who he wants to remix it, he suggested Artificial Red, who I already had music coming on the label from, so it made sense to ask him, he was up for it and he's done a cracking version of "Mark 11".

Big thanks to Friske & IJO for their original tunes, to Gremlinz, Rumbleton & Artificial Red for their work on their remixes and to social media for actually being something useful!

Am 11.07. erscheint das 8. Studioalbum "No Sign Of Weakness" von GRAMMY®-Gewinner Burna Boy!

Mit seiner neuen Hit-Single "TaTaTa" feat. Rap-Superstar Travis Scott und den bereits gefeierten Hits "Sweet Love", "Update" und "Bundle By Bundle" liefert Burna Boy wieder eine unwiderstehliche Mischung aus globalen Einflüssen und einzigartigen Melodien.

Im April schrieb Burna Boy Geschichte: Er war nicht nur der erste Afrikaner, der das ikonische Stade de France ausverkaufte, sondern zierte auch als allererster Künstler das Cover von Billboard France. Diesen Sommer setzt er seine triumphale Stadion-Tour fort, unter anderem mit großen Shows in Berlin (5. Juli) und Mönchengladbach (6. Juli).

When the people just gotta dance right now, Turbo Recordings will drop everything to fast-track the hottest, rawest music the moment the download links hit our Hotmail. Such is the case with rising Lithuanian superstar DJ JM’s moov EP, which contains five tracks so good they needed to hit today's streets today. To ensure the mind-churning efficiency and logistical brilliance needed to pull off this kind of turnaround, label life-giver Tiga slept and tried to bathe at the office for five straight days* before being hospitalized for "caring too much.”

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Armand is the debut of a sound collage project called PVNCTVM, which refers to Roland Barthes' term "Punctum". A handful of field recordings, taken during extensive walks through nature and landscapes of certain places, evoke memories in a similar way as sometimes photographs do. Based on this material, personal impressions, literature, photographs, sketches and more a process of various sound experiments begins to create soundscapes which reflect the deterioration of memories between various states of mind. Instruments and other sound sources are used symbolically, as are elements of musique concrete, ambient, glitch and drone.

Aussie techno innovator Alpharisc returns to Mutual Rytm for a second standout EP.

Shane Yates, aka Alpharisc, has been living and breathing techno for over 30 years. He first began producing in the mid-90s and has amassed a fine hardware collection that lends his sounds a raw, rugged feel. After breaking through with the Wetmusik party and label collective, he has let his music do the talking and isn't afraid of colouring it with a hint of nostalgia. Previous material has come via several notable labels over the years, but his most recent outings have been on SHDW's Mutual Rytm imprint, with his solo EP 'Ram Face' from 2023 becoming an underground favourite alongside a fine outing as part of the label's 'Federation Of Rytm II' and 'Federation Of Rytm III' compilations. Once again, he returns in style, uncovering an impactful selection of gems across his new 'Remain Seated' EP.

The opener 'Peace Be With You' is a straight-up techno weapon with urgent synth flashes peeling off the groove like a police siren. The drums hit hard in true Alpharisc style before 'Hail' builds on that with a more hard-edge groove topped with frosty waves of white noise that electrify the dance floor. 'Remain Seated' brings a hint of trance-leaning energy with its bright sheets of synth lighting up the driving drums and saw-tooth bass loops. Next, 'Look At This' is another brilliantly forceful techno sound with slamming drums and rusty synth loops, layering melancholic pads up top and adding a cerebral edge, while closer 'In Your Mind' is from the Jeff Mills school of synth-laced and serene deep techno with lush pads radiating cosmic light. As a bonus, digital-only cut 'Expedition' brings some backlit celestial synth work to a rubbery and pummelling drum pattern for pure techno escapism.

For this new full-length output, Gil.Barte delivers on Teenage Menopause an 8 tracks LP full of formal strength and psychedelic grandeur. Unlike the vast near-death explorations or trancey adventures he developped on various labels such as Neubau, Big Science Records, Homemade Soundsystem or his own imprint Meth'O'Tapes, the meaningfully-named « Claviceps Purpurea » is a botanist guide to the valleys of the mind.
From the eponym opening to the ending echo, each entry is a glance at magical universal exotica. With an intense emphasis on rhythm, standing quite apart from his former releases, Gil.Barte draws the bouncing steps of a whirlwind dance rooted in western witchcraft.
Raging pieces of club-destroying material (for those who dare) meet sketches of electronic fever-dreams. A full circle that is meant to run on and on, breaking the veil of daylight consciousness.

This Spring, the Psionic imprint returns with its seventh chapter, welcoming rising Uruguayan talent Juanma Alegre to the fold. Across four forward-thinking, rave-infused cuts, Alegre blurs the boundaries between mysticism and pure dancefloor drive.

The journey opens with “Capsule of Time”, a deep, pulsating opener awash in acid-laced atmospheres and hypnotic grooves. Next up, “Selvinter” delivers a seismic mix of rolling drums, liquid acid lines, and dreamy pads—built for moments of late-night transcendence.

Flipping to the B-side, “Intrus” locks into intricate percussion and mind-warping textures, maintaining pressure without letting up. Finally, “Going Inside” closes the record with breakbeat pulses and off-kilter rhythms, channeling raw emotion straight to the heart of the peak-time floor.
Juanma Alegre opens the portal—step through if you dare.

4 track EP of smokin' hot disco & funk re-edits from Chicago's CRAIGNTHEM. In the same vein as the popular GU "CLASSIQUES" series and just as good. The debut vinyl release soon to be followed by more ripped out of the digital vault. Don't sleep on these. If you know, you know.

A collection of obscure and unheard metaphysical sounds, 1980-1992

Lost Coast: Some Visionary Music from California assembles little unknown sounds from California’s metaphysical underground. Each recording is stylistically different—dream pop, guitar soli, fourth world, avant-electronic—but they are held together by a regional ethos of the “visionary.” This is music that envisions, seeing through the mind’s eye and conjuring new worlds.

Some people say that California is where “the nuts stop rolling”—where those too eccentric to fit in elsewhere ended up. What was meant pejoratively is easily reclaimed as a celebration of the free-thinking and the freely-freaking. Until the turn of the millennium, all manner of seekers rolled westward until they hit the pacific. Stationed along this edge, music was a way to roll still further: to imagine territories unencountered and wavelengths as yet unheard.

Lost Coast is a commemoration of the people who made these journeys and a resurrection of recordings they made little effort to broadcast. While some of the tracks were originally released on cassettes with modest distribution, others were only shared among friends or never shared at all. Assembled from the personal collection of House Rules operator Zully Adler, these recordings were all found on cassettes in flea markets, barn sales, rural thrift stores, and even stranger places—outside a gem and mineral shop, for example, and on the ranch of a retired mescalin dealer.

Nonetheless, these recordings are eminently listenable. California is a place where the strange and the pleasurable are frequent bedfellows.

lim. 2xLP colored yellow and oxblood vinyl with Poster, Sticker & Mp3 Download!

We are back with another chapter in our ongoing series of unearthing smooth vibes from all over the world, this time we go back to the FUTURE for you with: THE SUNSET MANIFESTO Volume 2. After a five year break mainly concentrating on the late 70s/early 80s Westcoast Soul/Yacht/AOR sound, we finally dive deep into the modern world of our beloved sister-label Too Slow To Disco NEO (for the third time after 2018s TSTD NEO - En France and 2020s The Sunset Manifesto excursions). But of course it wasn't a real 5 year break since the first Sunset Manifesto compilation, as in the meantime we also released a few digital TSTD Neo singles, and - more importantly - our "Too Slow To Disco NEO - FM" playlist on spotify (handcurated by Dj Supermarkt every week and now hosting more than 1500 tracks of mellow, modern sunshine vibes) was growing steadily and becoming a new, important fixpoint in the TSTD musical universe. TSTD NEO is the outlet Dj Supermarkt is using to unearth modern laidback, smooth, sunny slow disco vibes with a soulful Westcoast/Balearic touch. For him TSTD always has been about a laidback vibe/feeling, not a certain time period in musical history. And that sunny Westcoast vibe we dug out on those traditional TSTD compilations has become a huge influence to so many modern artists. So it makes sense that we present the cream of new slo/mo NuDisco/Sunset Disco/Daytime Disco acts in the TSTD format, a luxurious compilation, with artists from all across the globe: Not only from the two homelands of that modern slow disco sound, Los Angeles/California and France, but also from Beijing, Montreal, Mexico, London, New York, Stockholm, Rotterdam… the moon, you name it! This music is more a state of mind, a feeling, then a geographical thing. We are happy and really excited to annouce the following passengers are on board with exclusive tracks: Poolside, Woolfy, Prep & Eddie Chacon, Turbotito, Young Gun Silver Fox, Lovetempo, Kimchii, Goodvibes Sound a.m.m.

BUDDHA-BAR SUMMER SESSIONS - MONTE-CARLO BY RAVIN A MUSICAL ODYSSEY TO CELEBRATE SUMMER & THE 15TH ANNIVERSARY OF BUDDHA-BAR MONTE-CARLO Under the starry sky of the Riviera, lulled by the warm breeze, an invitation to travel rises. A beat, a melody... and the mind drifts away. Buddha-Bar, the temple of world music and sonic elegance, celebrates 15 years of magic in Monte-Carlo with an exceptional compilation: Buddha-Bar Summer Sessions Monte-Carlo by Ravin. Conceived as a musical odyssey, this double compilation weaves captivating atmospheres, blending ethereal lounge, organic electro, and world sounds, in an intimate dialogue between East and West, tradition and modernity. Each track (including more than a dozen unreleased tracks) has been carefully selected by Ravin, who creates a captivating and chic experience, a true invitation to dance and escape.

The cultured creative minds of James Simonson and Blair French reunite for this new Realities Remix EP on MotorCity Wine which was, in original form, recorded by Simonson in hotel rooms across Europe and the Americas while touring with soul legend Bettye LaVette. As such it takes in myriad global influences as well as evocative field recordings which get reworked in style. Blair French adds his touch with three remixes, firstly the anthemic 'Realities (Projector Remix),' then the more dance-driven 'Elektronolux Overture (Sunday Remix)' and the lush and downtempo 'Hannah (Remix)' featuring violinist Sonia Lee. Two originals 'Realities' and 'Elektronolux Overture' also appear on vinyl for the first time and sound superb.

DJ support from heavyweight selectors including Kerri Chandler, Alix Alvarez, DJ Deep, Osunlade, Dennis Ferrer, Dixon, Henrik Schwarz, and Aaron Ross.

French house maestro Franck Roger returns with the latest installment in his acclaimed Earthrumental Music series — a powerful 4-track EP crafted for the deep, late-night dancefloor experience.

Pure quality for heads who know

Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.

On June 27, 2025, a long-dormant signal reactivates from Hamburg’s hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.
Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn’t invoked through distortion alone, but through method; in the album’s breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).
Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro’s danceability, acid house’s corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.
In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants “things to fit together properly, but on another level, I really want them to make sense together.” That principle animates R4: The album’s form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.
From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it’s clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.