Suche:minimal

The first new material from Krash Slaughta since last autumn finds our man dropping a tuff 45 featuring two dope ATCQ remixes. And what else to call that but ATCK a.k.a. ‘A Tribe Called Krash’! First up is Scenario which gets a gritty guitar-led new beat making it sound closer to something by Gravediggaz at their noisiest (or even DMX) than the Afro-centric jazz-hope vibes of Native Tongues. Over on the flip, a co-production with, and tribute to, the now sadly departed Del the Soul Condor, takes Low End Theory’s Buggin’ Out and sticks with the jazzy vibes but swaps Buggin’s minimal double-bass dominated shenanigans for something rather more Latinate and Bonita Applebum-esque. Naturally these are as cheeky as they come so it’s a strickly limited affair. Don’t sleep…

Digital Sting returns after a bit of a hiatus with an across-the-globe collaboration featuring two of contemporary electronic music's most mysterious and prolific figures. Berlin-based, UK- born Low End Activist meets British Columbia-based, Philippines-born SeekersInternational for a seamless merger of their distinct but eclectic styles. SKRSINTL's woozy abstracted dubwise and dancehall psychedelia drips in, pooling and merging into Low End Activists minimalist and precision delivered bass bin pressure. Both artists' music spends some of its time in the hazy edges and ambience between sounds with hints of the activity,

atmosphere and noise of the larger world present in the individual sounds themselves. An aspect of this record rides like a distilled essence of a merger between vhs era soundtracks, dusty live sound system tapes and classic era grime instrumentals but avoids the trap of obvious nostalgia. What is created through collage, deconstruction and refinement is in its whole very now. Like all things SKRSINTL and Low End Activist the continuum is honored and the momentum is always pushing forward.

The records come in double sided silk screen printed DJ Jackets, with Obi Strip style stickers and hand stamped white labels printed and assembled by Digital Sting.
The artwork for this release was created in collaboration between SKRSINTL and Digital Sting.

Mastered by Alec Ness and Greg Reierson. Vinyl run of 330 copies.

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.

Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.

Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).

Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’

Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

Larry Thompson and Rick Lenoir AKA LNR were early house pioneers who dropped seminal cuts from the late 80s onwards, but few had the impact of their debut, ‘Work It To The Bone’.

The darkly alluring anthem mixed tribal percussion with a minimal groove that went deep and soon became a dance floor classic, spawning a thousand copycats. It has remained an evergreen favourite across the years and now gets covered by New York’s long-time house heavyweight and Grammy-winning producer, remixer and Elements Of Life founder Louie Vega under his Funki Cadets alias. He hooks up with Chicago mainstay Mike Dunn and go-to contemporary house producer Wade Teo for a new version that beefs up the original for modern dance floors.

The opening Louie Vega Mix dials into the original’s tribal energy with a chunky, bouncing groove and hard-hitting percussion, then layers in more synths, effects, and drama to the full-fat sound. It’s a sweaty, steamy affair with a constant sense of momentum as the arrangement evolves, different hooks take the lead, and the pressure stays high. In addition to a DJ Tool Acapella and Louie Vega Beats mix, Wade Teo remixes the track with a deeper groove and dusty drums. It’s a more subtle, heads-down sound but packed with the same edge and rawness that made the original so standout.

Omar Neri aka Omar J Born & live in Arezzo, Dj Professionist from 1991, play and produced under name PRESSLABOYS with Luigi Gori since 2011. In1996 instead, while they were in his basement during a storm, the study got flooded and they looked like homeless people holding all them instruments. Here born Presslab Records & two Years later Presslaboys Team, after various names used before. Today, never forget but never look back, keep moving forward, it’s time to fly… my creature, Tapemann, who lives the eternal dilemma linked to his nature, of tapa, grappling with the future, progress and the loss of certain values that leave room for AI. So, let’s start this totally hybrid journeys, in sounds ranging from house to prog house contexts (sometimes Deep and Dub) but with a sound and structure that recalls minimal, in the choice of reverbs and lengths of the sounds... all immersed in a decidedly acidic context. A melting pot from an artist who has spanned three decades of music, we couldn't expect anything different.

Originally released in 1990, as a triple album in box set with probably the best work THE KLINIK ever did. A selection of their musical works all recorded between 1984 & 1988 and never released before, the box came as a limited edition in 1990 and was sold out in no time, and therefor very rare and hard to find.

Now Antler Records has revisited the box, remastered into a sound experience like you never had before; 6 sides packed in newly designed inner sleeves with band photo's (by Inge Bekkers) that have never been published before. 6 sides, three heavy weight vinyl albums in one extra broadened single album sleeve. Cold electronics, shivering spheres, minimal and highly atmospheric, a soundtrack for a still to be made film. A sound experience like you never had before!

The Klinik is Marc Verhaeghen-Music & Dirk Ivens-Lyrics
All Tracks recorded in the Lab between 1984 & 1988
Digitally Remastered in 2026 by Pieter De Wagter(Equus)

In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions, it was a response to the modern music that dominated the scene in 1968. It is considered a masterpiece in the genre and served as an inspiration for many composers, classical and otherwise.

The pieces consist of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. In total, the compositions consist of 53 short musical phrases. The thing that makes In C so enduring, is that once all its conceptual ideas are stripped away, it's a seriously hypnotic piece of music, full of energy.

Wewantsounds is delighted to reissue Brigitte Fontaine’s landmark 1970 Saravah album Comme à la Radio, recorded with Areski Belkacem (who sadly died last June), Wadada Leo Smith and the Art Ensemble of Chicago. This deluxe 2-LP edition pairs the original album with a second LP of rare bonus material. The release is accompanied by a lavish 24-page bilingual booklet featuring an introduction by journalist Andy Beta, essays by Wadada Leo Smith, Brigitte Fontaine biographer Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The booklet also includes complete lyrics and a selection of rare archival photographs by Jean-Pierre Leloir and Philippe Gras. The reissue is announced alongside its companion, the deluxe 2-LP set Comme à la Radio "On Air", featuring previously unreleased ORTF live recordings and additional studio rarities.


Wewantsounds pursues its Brigitte Fontaine reissue program with Comme à la Radio, originally released in 1970 on Pierre Barouh’s cult Saravah label, fusing Fontaine’s radical lyricism with Areski Belkacem’s minimalist compositions and the fearless improvisations of the Art Ensemble of Chicago + Wadada Leo Smith. Its title track has since become a cult classic in jazz and groove circles.
The album has been newly remastered from the original tapes and is reissued in a deluxe 2-LP edition featuring 11 bonus tracks. The first LP presents the original album in restored clarity, while the second gathers rare non-album singles, English-language takes, alternate versions and previously unreleased instrumental recordings showcasing the Art Ensemble's artistry, including the elusive English version of Comme à la Radio, and a striking early version of L’été L’été.
Also included is a 24-page bilingual booklet featuring rare archival photographs by cult photographers Jean-Pierre Leloir and Philippe Gras, complete lyrics, and contributions by Andy Beta, Wadada Leo Smith, Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The reissue is announced alongside its companion Comme à la Radio "On Air", a deluxe 2-LP set presenting previously unreleased ORTF live recordings and additional studio rarities.
Comme à la Radio stands as a visionary landmark of French music and a defining statement in Brigitte Fontaine’s career. This expanded edition confirms its enduring influence more than fifty years after its original release.

a A1. Comme À La Radio 8.03
b A2. Tanka II 2.04
c A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]

[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]

Mental and inexcusable !
Fatal and minimal !
Machine direct sound !

Continuing his compelling exploration of dubwise pressure at 170, the relentlessly prolific Brendon Moeller returns to Samurai Music with six stunning demonstrations of purposeful minimalism and spatial intrigue. Arriving in tandem with a second EP of introspective meditations on Samurai sub label SAIBAI, Codebreaker finds Moeller's peerless run of shadowy broken dub techno yielding startling new forms as the upstate New York artist continues to mine a rich seam of inspiration.

There's a pronounced economy of sound exacted on Codebreaker that binds the tracks together aesthetically, taken to the furthest reaches of subtlety on 'Dorian Grey Frequencies' as filigree slithers of percussion skitter across a brooding surface of sub bass with little in the way of distraction. This approach allows the microscopic detail of Moeller's engineering to shine through, as every inflection and murmur crackles with lithe movement to give each track its captivating energy.

Fractured beatdowns creep into earshot on 'Static Possession', edging towards Gescom-informed B-boy structures head-spinning in cryo-stasis surrounded by the hum of machines from a distant future and punctuated with occasional bullet points of delay soaked acid. Even when the bass starts to snarl and the hi-hats start ticking faster on 'Interzone Pulse', they're managed with brutal precision and a narrative flow of anti-build-ups that maintains a nail-biting tension throughout.

The decision to lean into a stripped-back sound on Codebreaker shows the faith Moeller places in his particular interpretation of bassweight 170, as his jaw-dropping sound design speaks volumes with the most modest of lexicons in a dialect never heard before.

*CASSETTE TAPE!**

SELN Recordings is proud to present Sillons, the debut release from French musician Pierre François.

Straight from Nantes with love and sadness; Sillons is the soundtrack to being shut inside and sheltered from all the dread beyond your bedroom door. What may at first appear as a collection of abstract loops unravels into something much greater throughout its entirety.

Underneath a thick atmosphere of tape hiss and crackle, minimal synth explorations emerge and float away while the occasional guitar-esq riff ebbs in and out of the foreground like waves at the shore. Percussive refrains come through with perfect timing, their occasional rudimentary timbre all in the spirit of ‘do it yourself magique’.

Picture the following: it’s been decades and you’ve forgotten how to communicate with the world outside, all you have left are message-songs which leave behind a story of what it was like to be separated from everything you’d ever known during an existential sabbatical. This is very near to the audio experience that Sillons gives and thus makes it so real. On this merit alone François deserves his flowers.

Even the shortest of songs manage to conjure up visceral imagery. For example ‘Abouile’, with an impressive runtime of 51 seconds, dives straight into the eeriest corners of a Cold-War era ‘Numbers Broadcast’ being sent out from malfunctioning military personnel venturing off into the depths of their consciousness.

All in all there is something distinctly ambitious and positive within Francois’ work. It takes you to a place where little else matters except the mood and feeling the music provides, a hopeful and emotive landscape.

Mastered by Amir Shoat

Modeight returns with four new cuts from label head Silat Beksi, moving across broken grooves, stripped minimal house and hazy after-hours moods. A1 "Belpaese 3000" opens on a loose summer feel, built around off-centre drums, elastic funk phrasing and a surreal vocal line that feels half-sung, half-invented. Sampled folk details and a crunchy acid twist in the breakdown give the track its own oddball tension. A2 "Alpha Style" keeps things tighter and more direct, locking into a pumping minimal house flow with clipped modular stabs, warm female vocal phrases and light atmospheric drift. It is playful, controlled and built with the floor in mind. On the flip, "For The Heads" goes deeper into late-night territory - reduced, driving and sharply focused, with a rolling pulse and enough pressure to carry a room without overstatement. "Soft Collapse" closes the record on a softer axis, layering blurred vocal tones, textured percussion and a gentle after-hours motion that stretches naturally from the first warm-up hours into the early morning.

Memoria returns with MEM064, welcoming Brizman to the label for a four-track journey through stripped-back grooves, deep atmospheres and dub-infused minimalism. The A-side sees Brizman on solo duty with Detroit Awareness and That Chord, two subtle but effective club tracks where rolling rhythms, warm chords and hypnotic details do the work. On the flip, Brizman joins forces with Szafran (Oskar Szafraniec) for Reworking The Dub. Spacious, bass-heavy and deeply hypnotic, the track takes the record into distinctly dubby territory. Cirkel Square closes the EP with his remix of Reworking The Dub, reshaping the original into his own tightly-wound interpretation while retaining its deep, soundsystem-minded character. Four cuts covering the space between minimal house, dub and late-night electronics, understated, functional and made for the floor.

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

Plus Plus Traxx is here and we open things up with the label’s main guy, Louie Fresco, and his bass-heavy track "###" (Pound-Pound-Pound).

A track that feels like it was made by a mad A.I. on shrooms inside a lab on a remote alien spaceship. Breaks weaving through glitchy sounds and creepy leads make this tune a certified secret weapon for those DJs who truly dare to break the mold and play outside the trendy shit.

Next up, we got a banger of a collab between CHKLTE and San Dee, who met inside the 16bit realm and cooked up a trippy minimal late night heater that feels like you're creeping through the Doom and Duke Nukem corridors, a tune that will definitely be making the after-hours rounds around the world.

Coming up on the B-side, we got none other than Harry Wills under his Brazen alias, doing what Harry does: dope basslines, intricate drum work, unique creativity, and overall trippy madness. 135 bpms of brazen dopeness.

And if you want more fuel in your engine, here comes Gojnea76, who turns the track "Passive Aggressive" on its head and literally kicks the “passive” out of the equation, delivering a bomb of a remix that will definitely be traveling in many great DJs’ record bags for years to come.
This is Freaky Friends Vol.1

RAWAX welcomes Louie Fresco to the artist family! We are very happy to present you this great produces from Mexcio
on our RWX series which stands fro groovy minimal House/ Techno and Electro. And like here on this records - all in one!
Highly recommended!

Who would expect that a new Krautrock release on Macadam Mambo would come from a Japanese band called Heavenphetamine?! The duo/couple have been touring all over Europe in the past two years, and started to build a serious fan base, as every performance they deliver is leaving an imperishable memory. This is on a date in Belgrade at Karmakoma that they met with Sacha. They had this album recorded and auto-release on tape but not on vinyl, and it came completely naturally to decide to release it as a LP on Macadam Mambo. The tracks on the album are new versions a bit different from the tape, let’s say a bit more mature and minimal than from the first ones recorded and give the feeling of listening to a masterpiece in the genre. It can be dark and profound but also enough light to bring back this little sun that has trouble to shine in the winter. This album has been highly influenced by their experience with the war in Ukraine, and the friendship they made there, where it has been recorded, and it express this mix of emotions due to the feeling of exasperation and the hope to see someday this conflict come to an end and the relief of the peace…

Raw and unfinished. Never released, for various reasons. DAT and compact cassette tapes forgotten in home studio drawers, then boxed away in the basement for decades. After modern mastering, sounding solid and fresh — so why not release them after all?

Kilotoni drops its sixth vinyl-only round of radioactive techno findings. Be prepared for the meltdown and fallout.

A1 Banging acid techno in the Public Energy vein, mixed with the minimal Landstrumm-style funkiness of the 1990s. Raw and minimal, but dialed in just right.

A2 Simple acid house with shuffling beats and romantic chords. Perfect for setting the mood at a club night or an outdoor sunrise.

B1 Tech house from the 90s — or perhaps from outer space. A bouncing bassline and funky drum machine programming are joined by unidentified bleeps.

B2 Wild but unconventional acid techno with shuffling beats and throbbing basslines. Midwest acid and ghetto techno shake hands on a nuclear wasteland.

Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.

Bosconi Records reissues one of its most sought-after releases: BOSCO004 by the British duo 100Hz (Lee Renacre & James Chapman), a three-track EP seamlessly blending Robert Hood-style minimal Detroit techno with dubstep/techno crossover influences.

At the heart of the record is “The Field”, a rediscovered DJ-favorite driven by a deep, trippy groove and the magnetic vocals of Patrick Stanley (AKA “The Voice”), accompanied by the sleek, suspenseful atmospheric vibe of “Tension”. Rounding out the EP is “Cinqo”, a timeless 137 BPM avant-garde smasher originally released in 1995 on Format Records that bridges the gap between Benga, Tobias, and Marcel Dettmann.

With the “Extrasensory” EP, Slices Of Life welcomes one of the most versatile producers in the UK minimal house scene. Since 2003, Tom Ellis has been creating funk- and jazz-inspired house and techno, distinguished by his keen sense of organic rhythm. His extensive discography spans labels such as Logistic/Telegraph, Minibar, Wisdomteeth, KANN, Banoffee Pies, Onysia, among many others. Beyond his solo work, he is also the mastermind behind the electronic jazz ensemble Soulstatejazz.

The four tracks on “Extrasensory" distill this wealth of musical experience into diversely textured minimal house productions. Precisely placed drums and percussion, and rolling grooves form the foundation - clearly shaped by Ellis’s background as a drummer, percussionist, and bass player.

All the tracks share a warm, organic atmosphere, oscillating between lightness and relentless drive. The title track, "Extrasensory", blends almost pop-like melodies with shimmering vocals. "Bring Forth" takes us into deeper, dubby, and driving territories, while "Be The Moment" reveals a playful and melancholic side. Finally, "Vividly" immerses us in a dense, dreamy, yet pulsating sonic world.

Berlin-based producer and live act Volkan Akin lands on Secret Society with a brace of finely tuned minimal house sounds for the small hours. 'Famosus' is stripped back but not lacking in clout: the drums and bass are tightly coiled while the hits pop out of the mix as a soft acid line wiggles endlessly in the middle of the mix. Franco Cinelli remixes with a bolder sense of swing and trippy vocals that are like voices in your head. '2SHY4' is the other original and is dry, dusty tech house with jazzy chords softening the edges and bringing some warmth, then Thomas Melchior remixes with his masterful touch and distils everything into deft, hypnotic grooves.

Limen brings together two artists whose musical paths converge around a shared sensitivity to listening, resonance, and the evocative power of sound.
Recorded at Ritmo e Blu Studio during a five-day residency between spring and summer 2025, the album emerged from a series of spontaneous encounters free from predetermined structures. The pieces preserve their original form, retaining the immediacy and temporal flow of the dialogues as they first unfolded.
Subsequent interventions were conceived not as revisions, but as an exploration of the open spaces already present within the recordings—deepening what remained unspoken and extending resonances without altering the music's natural evolution.
The title, derived from the Latin word for “threshold,” reflects the nature of the project itself: a place of passage between improvisation and composition, silence and vibration, memory and imagination. Limen inhabits a suspended territory where listening becomes an experience of openness, presence, and transformation.
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Lino Capra Vaccina
Lino Capra Vaccina is one of the most distinctive voices in Italian experimental music. A percussionist, composer, and pioneer of minimalist and meditative sound practices, he first emerged in the early 1970s as a founding member of the influential group Aktuala, whose visionary fusion of ancient traditions, improvisation, and contemporary research anticipated what would later become known as world music.
Over a career spanning more than five decades, Vaccina has cultivated a unique artistic language centred on vibration, resonance, and the transformative power of sound. His landmark 1978 album Antico Adagio remains a touchstone of European minimalism, while his collaborations have included figures such as Franco Battiato, Juri Camisasca, Markus Stockhausen, Keith Tippett, Paolo Tofani, and many others.
Whether working with percussion, piano, electronics, or voice, Vaccina's music seeks a state of suspension and contemplation. His compositions unfold as immersive sonic environments whereancient echoes and contemporary sensibilities meet, inviting listeners into an experience that is at once intimate, spiritual, and timeless.
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Luca Formentini
Luca Formentini is an Italian composer, sound artist, and improviser whose work unfolds at the intersection of experimentation, atmosphere, and deep listening. Active since the late 1990s, he has developed a highly personal language in which guitar, voice, field recordings, and electroacoustic processes become tools for exploring memory, perception, and the expressive potential of sound itself.
His music resists easy categorization, moving freely between ambient, contemporary composition, improvisation, and sound art. Throughout his career he has released numerous solo works and collaborated with a wide range of internationally acclaimed musicians, including Holger Czukay, Robert Rich, Markus Stockhausen, Steve Jansen, Theo Travis and Steve Lawson.His recordings have appeared on labels across Europe, Asia, Australia, and the United States.
Rooted in a practice of attentive listening and sonic exploration, Formentini creates evocative musical landscapes that invite reflection rather than certainty, opening spaces where silence, texture, and resonance become as meaningful as melody itself.

Although nearly two decades after its release the legendary album Eksel by D'Arcangelo has achieved cult status, it is worth remembering that it all started in the early 90s in Rome. The twin brothers Fabrizio and Marco D'Arcangelo sculpted this electronic IDM treasure with a minimalist arsenal of hardware and analog synthesizers, achieving a raw though sophisticated sound that immediately caught the attention of Aphex Twin & Grant Wilson Claridge, Rephlex record label heads themselves.

While in 1993 and 1994 a large part of the European scene was carried away by the faster, more commercial rhythms of hardcore or eurodance, the D'Arcangelo brothers preferred to look toward the mental landscapes and abstract textures coming out of Detroit and Warp Records. By fusing the machine-like coldness of electro with melancholic melodies and complex rhythm structures, the Italian duo became one of the undisputed pioneers of braindance music in Mediterranean Europe.

Looking back, Eksel—released on Rephlex in 2007—stood as a challenge to the listening habits of its time. Positioned between mental experimentation and dancefloor functionality, the album moves effortlessly between hypnotic club contexts and intimate, detail-rich home listening. Now twenty years later, its legacy continues to resonate among collectors and lovers of analog sound. Eksel stands as proof that electronic innovation extended far beyond the major hubs of London or Berlin, strengthening the dialogue between British IDM and the Italian school, and establishing D'Arcangelo as architects of a distinctive sound.

Marco D'Arcangelo looks back on the album's origins with characteristic wit: "Eksel was conceived to celebrate our 40th Birthday. At Rephlex, they thought we should include a Roman attribute, just to remind people of our so-called 'ancestry'—which isn't really anything, but being born in Rome did sound cool. The XL in Roman numerals is 40, spelled 'Eksel'. And funnily enough, this year we are turning 60 (oh my god!), and 60 in Roman numerals is LX, spelled 'Leks'."

For this release, the partnership brings together a range of elements into a cohesive and refined sonic language. D'Arcangelo seamlessly blend leftfield electronica, avant-garde techno, and glitch, shaping a forward-thinking sound. Vintage synthesizers intertwine with crisp programmed percussion, while melodic structures interact with classic 808 rhythms. This deluxe reissue also exclusively includes RFLX1902 and Electronic Lounge, two tracks from the same era never before pressed on vinyl. The result is a warm and reflective body of work, deeply rooted in electro's legacy, yet unmistakably oriented toward the future.

,The River" ist das erste Hello Shark-Album von Lincoln Halloran seit zehn Jahren. Nach einer schwierigen Phase, geprägt von Alkoholabhängigkeit, Orientierungslosigkeit und dem Rückzug aus dem Musikleben, fand Halloran nach seiner Rückkehr nach Maine wieder zum Songwriting zurück. Musikalisch verbindet das Album reduzierte Singer-Songwriter-Klänge mit Slowcore-Elementen und erzählt in ruhigen, ehrlichen Songs von Verlust, Sehnsucht, Heilung und persönlicher Veränderung. Statt sich ausschließlich auf seine Genesung zu konzentrieren, blickt Halloran reflektiert auf die Vergangenheit und die Menschen in seinem Leben zurück. Mit seiner direkten, berührenden Sprache und den minimalistischen Arrangements zählt ,The River" zu den persönlichsten und reifsten Veröffentlichungen von Hello Shark.

A quiet intensity permeates Chantal Michelle’s music, like a veiled flame. Even at its most spare and delicate, an undulating tension unsettles the ear through wavering microtonal interference and uncanny spatial juxtaposition. She takes seriously the mandate of the composer to foster new relationships between various types of sounds, bringing together disparate field recordings, instrumental stems, and the sounds of circuitry in unheard configurations. Resolution is elusive, in its place a sense of oblong cyclicality and prickly uncertainty. When the veil is pulled back, we find more depth, more complexity, and more mystery.

Unit of Heart, Michelle’s second album of 2026, presents two interrelated pieces that highlight diverging compositional modes. Here she brings in two key collaborators: Patrick Shiroishi, who contributes flutes and saxophones throughout, and poet Funto Omojola, whose words and voice bookend the title composition. Both compositions unfold gradually, but where the album’s a-side “Sudden Oceans” presents a minimal tonal palette focused entirely on the subtle grain of wind instruments, “Unit of Heart” proceeds linearly, moving through passages of synthesizer, environmental recordings, and full-cheeked wails of saxophone. Both encourage a state of focused listening as the scope of the music deepens and widens.

“Sudden Oceans” allows the listener to hover in rippling currents of air, breath overlapping breath in a shimmering patchwork. All flutes and saxophones on the piece are played by Shiroishi, which are molded by Michelle into a pattern that resembles the flow of tidal waters, surging and receding moment to moment as the tonal density increases. Expansive and recursive, it reflects both the restorative awe and eerie disquiet of encountering the sublime. The first and last sounds we hear are the gentle rush of unmediated breath as Shiroishi connects and disconnects from his flute.

Michelle’s skill at presenting the familiar as preternatural comes to the fore on “Unit of Heart, ” one of her most ambitious works. Omojola’s voice begins with a melody that could be a lullaby, but as it’s bounced around the stereo field it takes on a haunted quality. Their poem, reprinted on the LP’s inner sleeve, hints at a similar type of transformation: “I mean this is where our mouth turns saliva into spears only a throat can recognize. ” Pads of downy synthesizer billow and are subsumed by a discordant ringing. The climactic section features atonal electronics and field recordings, first of water and then the evening call of insects, processed in such a way to transform them into pulsating bursts of noise. What we think we know about the world, what is elemental, can change with even the slightest adjustment of the lens.

Frisch aus den Höllen von ,Misterio Lounge 3000" (2024, lumpy/Inscrutable Records), bewegt sich die berüchtigte Gruppe aus Mexiko-Stadt weiterhin zwischen kosmischer Elektronik der 70er,minimalistischem Elektro-Punk und dem Erbe des Techno-Pop aus dem Mexiko-Stadt der 80er. "The frogs went to sleep this afternoon; they started dreaming". Und hinter all dem verbirgt sich ein tiefgreifender Impuls der Metamorphose, der keinen Raum für Ruhe lässt und ein ,Ambystoma mexicanum" erweckt, frei von jeglicher Fußball- und Kommunalpolitik-Werbung, damit es uns von seinen Träumen erzählen kann. Es ist auf eine Reihe automatisierter Wahrnehmungen gestoßen, gefolgt von gepunkteten Linien, die auf den ersten Blick wie unverbundene Bildausschnitte wirken, in denen sich jedoch in jedem Einzelnen eine Vielzahl von Geschichten offenbart. 13 Songs, 33 U/min

An acclaimed international cast of forward-looking artists – Jan Jelinek, KMRU, Lia Kohl, J. Albert, Laurie Torres, Jefre Cantu-Ledesma, Giuseppe Lelasi, Jung DJ and Smoke Point – remixes/remodels tracks from Arp’s transfixing late 2025 album Drifts for Barcelona-imprint Modern Obscure Music (Actress/ Sakamoto, Merzbow). Reflecting Arp’s stylistically-omnivorous approach, each remixer on Echo–Variations represents a unique corner of the music landscape, from the jazzy ambient glitch of storied German producer Jan Jelinek to the overdrivendrone landscapes of Kenyan ambient auteur KMRU to Smoke Point’s no frills club-tool to the haunted ambience of cellist Lia Kohl’s gorgeous electro-acoustic work. One can hear elements of hauntology, post-rock, minimal techno, glitch, spiritual jazz at play. Arp adds a few alternate mixes and two new tracks for good measure, ambient techno floater “Chlorophyll (1998 Mix)” and perhaps the most surprising of all, the dub techno heater “MMXXVI (Dub Mix).” Heart all together, its classic sounding heart RIYL Touch, Millie Plateaux: Creative,meditative, brain cleansing, thought provoking hauntological futurism.

With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.

It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.

Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.

Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. He was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, funk and jazz while retaining an original and distinctive voice.

Sextant from 1973 was recorded just before Headhunters, and can be seen in the same vein, but it’s more than just an introduction to a masterpiece. It features a kind of post-modal, free impressionism while gracing the edges of funk. Three long instrumental tracks explore how far minimalism in jazz can go.

Sextant is available as a limited edition of 2000 individually numbered copies on blue marble vinyl.

Following his appearance on Artist Series 2, Beppu returns to Alt Dub with Forms, a new release exploring the deeper, more experimental side of his dub aesthetic.

Recorded and shaped through analogue equipment, tape, mixing desk and effects, Forms is an exercise in space, texture and repetition. Deep bass weight, drifting echoes and finely layered electronic tones move through each piece, creating a sonic world that feels both stripped back and richly detailed.

Forms sits comfortably on the exploratory edge of the Alt Dub catalogue, drawing on the fundamental principles of dub while pushing them into more atmospheric and experimental territory. It is music built for deep listening—minimal in its ingredients, expansive in its effect.

The release is completed by two remixes of Traces from Stephen Hitchell, appearing under his CV313 and Intrusion monikers.

His respective Morning Dub and Evening Dub interpretations take the track in contrasting directions, extending its hypnotic qualities through deeper, more spacious treatments.

With its combination of analogue warmth, deep-space atmospherics and restrained dub experimentation, Forms is a carefully crafted addition to the Alt Dub catalogue.

Other Plans is the fifth full-length album by Swedish composer, producer, and vocalist Daniella Ljungsberg, and her third release on ORTHODOX. Returning to her early training in Baroque and Renaissance music, Ljungsberg reimagines these formative influences through the electroacoustic language she has developed over the years. Across seven tracks, harpsichord, double bass, bassoon, and trombone intertwine with modular synthesis, field recordings, and digital processing, moving between intimate songwriting and minimalist composition. Swedish folk echoes, Baroque sensibilities, and meticulous sound design dissolve into a singular musical landscape shaped by memory, nostalgia, and imagination. Created in a time of uncertainty and disorientation, Other Plans carries a delicate tension between melancholy and hope, transforming the act of looking back into a means of moving forward.

Ed Davenport (aka Inland) marks 20 years of dedication to the craft with a Double-LP of unreleased material on his Globuli-LTD label. 8 simmering cuts spanning minimal, tech-house and dub-techno from the archives, dating as far back as 2005. Produced between London, Poulsbo (WA) and Berlin.

Minutiae is the first full-length release form Stockholm’s Ināra Quartet, made up of brothers Kasper (guitar, banjo, mandolin) and Mauritz Agnas (bass, cello), Johan Graden (piano, harmonium, synths) and Mischa Grind (percussion). Drawing on wide performance and composition experience in free improvisation, jazz, and composed new music, the quartet have carved out a unique niche where radical approaches to rhythmic organisation and group interaction are wedded to immediately accessible, folkish melodic and harmonic material. Unfolding briskly across eight pop-song length tracks, Minutiae places these folk fragments under a microscope, expanding them into intricate patterns of group interplay by turns austere and lushly psychedelic.

The quartet’s layering of independent rhythms, pulses, and tempi suggests a range of precedents, from Ligeti’s ticking clock textures to the pulse music of John McGuire, the repeating asynchronous cycles of The Necks, and the intricate irregular crosshatching of Banda music. Rhythm, harmony and melody shade into one another within each of the instrumental layers that overlap to form the music’s rippling surface. At points guitar, bass, percussion, and keyboards can seem each to occupy their own world, each player moving independently according to their own internal tactus, but attention to the details of group interplay reveals carefully planned collective movement. On ‘Klapparen’, strummed acoustic guitar chords and clinking percussion accelerate and decelerate in unison, washed over by floating synth lines. At other points, the quartet as a whole suddenly shift direction like a This Heat tape edit. Check the opener ‘Box Pieces’, where a brief percussion tag cues an unexpected cut from frenetic layering of percussive attacks undergirded by slow moving synth and bass foundations to a rumbling, locked-in dirge.

The eight pieces span a range of tones, from plaintive abstraction to surging minimalism. Touches of whimsy relieve any threat of over-seriousness: witness the wacky electric guitar glissandi that open ‘Tilting’ or the lovely, almost Pascal Comelade-esque fairground wobbles that begin the wayward journey of ‘Cadence: not even,’ before it stumbles into a totally different zone of spacious Paul Bley balladry sprinkled with banjo plucks. Recorded across two days at Stockholm’s Atlantis studios, Minutiae’s minutiae truly sparkle thanks to the careful mixing work of Ghosted drummer extraordinaire Andreas Werliin. A wonderfully approachable document of the richness of the next generation of contemporary creative musicians from Sweden, Ināra Quartet’s debut also looks back to 70s touchstones like Archimedes Badkar in its joyful embrace of musical collectivity.

The record is pressed on 160 gram ultra clear vinyl, housed in a high gloss printed heavy sleeve, limited to 999 copies. The new release by the UK duo known as The KVB via the Minimal Wave sublabel Cititrax. Combining shoegaze guitars, minimal synth melodies, hypnotic drum machine rhythms and reverb drenched vocals, The KVB was first formed in 2010 as the solo project of Klaus Von Barrel.

French and Italian Industrial Hardcore, minimal (or not), and bloody dark... This sounds so Brittany ^^...

Mastering by Armaguet nad
Pressed at B-Side
printed sleeve with a sticker

Best known for its ambient explorations, Idee Du Femelle, the alias of Catalan synth pioneer Toni Parera, reveals a lesser-known minimal synth side on “Red Dress”, one of our favourite sonic discoveries of 2026. Bringing together nine songs recorded between 1995 and 1997, alongside a much more recent bonus track, “Red Dress” explores the classic vocabulary of minimal synth and the elegance of the very best synthpop. Some tracks and vocal performances evoke the sophisticated atmosphere of Bryan Ferry’s “Don’t Stop the Dance” era, while others draw on the motorik pulse of krautrock and the offbeat spirit of Neue Deutsche Welle, making for a delicious listening experience. Delicate synth textures, deeply emotive melodies and irresistible rhythms make for a beautifully crafted synthwave record that feels timeless, yet firmly at home on the dancefloor. “Red Dress” brings a hidden chapter into the spotlight, revealing an artist whose mastery of atmosphere finds an equally compelling expression in the minimal synth universe.

Burnski's Instinct label hits release number 40, having very much helped to define this latest era of minimal, tech and garage mutations. Mattik is in charge for this one and he has become a northern heavyweight in this world. 'Original Badboy (It's Ecstasy)' is a title alone that tells you what to expect - naughty, playfully sleazy garage sounds with old school motifs and a killer descending bassline. 'We Tell Dem' brings an acid squelch and screwy synths that are decidedly futuristic. Mattik & Tuff Trax's 'Get No Sleep' tightens the low end bump and drops in some neon chords and choppy garage-house drums, while Cronnik's 'Feelin' (Mattik's Got The Feelin' mix) blends bumpin' drum work with spraying synths and wobbly bass. Fantastic fun.

Peter 'Baby' Ford's legendary Trelik Records taps up Martinez for some gently persuasive minimal and tech on this new Dream Scheme EP. First out of the blocks is 'Outta Da Sky' (Ethereal mix), which marries honours bell sounds and gently cascading synth with a weighty deep house groove and spoken words that bring things to life. 'Laughter Land' has more intent but is still a shimmering sound with soft edges and plenty of late-night warmth. 'Gravy Disputes' sounds like the problem to have but in fact plays out like a serene, playful groove that gives a little nod and a wink across the dance floor as it persuades you to start moving more seriously.

We have reached the final chapter of Kontra-Musik Records' 20th-anniversary celebrations - a busy and rewarding year filled with new releases, represses, club nights, festival appearances and tours. To bring the year to a fitting close, Andreas Tilliander, aka TM404, has once again teamed up with label head Ulf Eriksson for a new limited, vinyl-only 12-inch. Entitled Tjugo (Twenty), the EP sees the duo return to their dusty, machine-driven sound. It opens with Navet, a deep techno track built around rolling stabs, a melancholic organ chord and a solid bassline. From there, it moves into Ravet, a hissing, propulsive piece of minimal techno. The B-side is given over to Sjuhundrasjuttiosjuan, a slow, acidic bonnadub, to close of the year and the record.