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Whose These Records presents WTR003, a limited 300-copy Various Artists release pressed on 180g vinyl. WTR brings together emerging sounds from Córdoba, Argentina alongside two anonymous artists on the flip side, staying true to the Whose These Records vision: underground dancefloor music with no compromises.

In 2022 bracht Hendrik Lasure met 'Het Wiel' voor het eerst een album onder eigen naam uit. Vier jaar later krijgt die plaat een vervolg met 'De Val': elf eigenzinnige Nederlandstalige songs waarin Lasure een wereld bouwt die ergens tussen het alledaagse en het magisch-realistische zweeft.

Waar 'Het Wiel' nog terugblikte op de kindertijd, draait 'De Val' rond verbinding en het gebrek eraan. Melancholie en sehnsucht lopen als een rode draad door het album, maar Lasure verpakt ze in poëtische taferelen waarin de gewone wereld voortdurend een beetje uit haar voegen raakt. Mensen gooien stenen in de slotgracht van een paleis, de avondzon kleurt de hemel paars en een toevallige ontmoeting kan zomaar een heel nieuw universum openen.

Ook muzikaal kiest Lasure voor de essentie. Voor 'De Val' verruilde hij zijn vertrouwde piano tijdens het schrijven voor een gitaar, een beperking die de songs hun eigen vorm en directheid gaf. Producer Koen Gisen hielp die wereld verder uitbouwen, samen met onder anderen Meskerem Mees, Jolan Decaesteker (Ão, Mooneye), Aya Suzuki en Sep François.

Het resultaat is een spaarzaam gelaagde plaat met veel ruimte voor Lasures karakteristieke manier van zingen: ergens tussen melodie en poëtisch parlando. Referenties als Spinvis, Mount Eerie, Sun Kil Moon en PJ Harvey zijn nooit ver weg, maar 'De Val' heeft bovenal een heel eigen signatuur. Avant-kleinkunst, nu-pop ofiets waarvoor nog geen naam bestaat: Lasure maakt muziek voor wie graag even uit de werkelijkheid verdwijnt.

Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."

Legendary London drummer Crispin “The Pump” Taylor releases his long-awaited debut album Licence to Fill on Monks Road Records, celebrating 35 years at the heart of the Soul, Funk, Rare Groove and Acid Jazz scenes.

A founder member of Push and former member of pioneering Acid Jazz outfit Galliano, Taylor has also toured and recorded with Zero 7, The Blow Monkeys, Dexys Midnight Runners, Seal, Paul Weller, The Funk Brothers, Marlena Shaw, Candi Staton, Carleen Anderson, Urban Species and many more.

Licence to Fill brings together original Funk, Soul and Jazz material, featuring acclaimed musicians including Mick Talbot, Angelo Starr, Joe Cang and Matt Deighton.

A heavyweight debut from one of the UK's most respected groove-driven drummers.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

Chris Liebing's collaboration with Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, aka The Alte Stuben Modular Ensemble, 'Entangled Circuits', has been remixed by Hayden Payne, better known as Phase Fatale. Originally released on Chris Liebing's 'Evolver' LP earlier this year, the remix will be released via CLR 20th November 2026. The original track is a collaboration between Liebing and The Alte Stuben Modular Ensemble made up of Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer. New York-born, Berlin-based Phase Fatale has held residencies at Berghain, Brooklyn's Merge and Tbilisi's KHIDI, and has built a catalogue across Ostgut Ton, Dekmantel, Jealous God and his own BITE imprint, carrying a lineage that runs from New York's cold-wave underground through to the sharper industrial edges of Berlin's club circuit.

Phase Fatale rebuilds 'Entangled Circuits' around a hypnotic bassline, pitching the original's synth stabs up a notch.
Weighted kick drums, relentless repetition, and industrial texture anchor the rework in techno mastery, delivering a peak-time weapon without loosening its grip on the source material.

The original version of 'Entangled Circuits' appears on 'Evolver', Liebing's first solo techno LP, released 27th March 2026 on CLR. 'Entangled Circuits' was composed on a skiing trip to Oberlech, Austria with The Alte Stuben Modular Ensemble, Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, blending dark, modular synth textures with driving rhythmic sequencing. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision.

Your head can’t help nodding along, and there’s a good chance that soon your feet will do something very similar: Meandering between dopeness and danceability, hovering between serpentine synthesizers and a wonderfully soulful vocal, the vibe of Lost In this Moment is really all in it’s title. The creative past of Zcelli Forever resonates subtly with the streamlined drive of Chase The Sun, as the producer used to travel around the world to send dancefloors on journeys as part of a certain duo. Pushing the variety of this release even further, Dennis Reich provides a club-ready remix that playfully juggles the intense song structure and the warm melodies of the original in time with a compelling groove.

Standard edition - 180g black vinyl in poly sleeve with no art-print insert The Technokunst label journey continues with the third iteration of the Split Series, bringing together two long-standing figures from the deeper reaches of Techno. This time, Japan’s Takaaki Itoh and Scotland’s Deepbass are proving that in Techno, nothing is lost in translation. The EP opens with Takaaki‘s signature, timeless mental synth workout, “Fusioner”. Deepbass strips the original back to its core elements and takes the track in a much more minimal, yet functional direction that we’re sure is going to work wonders on any floor. On the flip, Deepbass continues to venture into more emotive territory with his original “Monolite”. Unafraid to use vocal pads, the track is brimming with emotion, giving it a distinctly cinematic feel, like a story unfolding. Takaaki closes the record with a pounding iteration of “Monolite”, with tones like those straight out of an astromech robotics division. Mastered by Gio at Artefacts Mastering and lacquer cut by Simon at The Exchange. The artwork is based on a digitally scanned painting on canvas by Dorka Berkes.

Limited Edition - 180g red-black marbled vinyl in poly sleeve w/ art print insert - 200 copies with no repress The Technokunst label journey continues with the third iteration of the Split Series, bringing together two long-standing figures from the deeper reaches of Techno. This time, Japan’s Takaaki Itoh and Scotland’s Deepbass are proving that in Techno, nothing is lost in translation. The EP opens with Takaaki‘s signature, timeless mental synth workout, “Fusioner”. Deepbass strips the original back to its core elements and takes the track in a much more minimal, yet functional direction that we’re sure is going to work wonders on any floor. On the flip, Deepbass continues to venture into more emotive territory with his original “Monolite”. Unafraid to use vocal pads, the track is brimming with emotion, giving it a distinctly cinematic feel, like a story unfolding. Takaaki closes the record with a pounding iteration of “Monolite”, with tones like those straight out of an astromech robotics division. Mastered by Gio at Artefacts Mastering and lacquer cut by Simon at The Exchange. The artwork is based on a digitally scanned painting on canvas by Dorka Berkes.

The Forbidden Planet is the new album by Tomorrow Comes The Harvest, featuring Rasheeda Ali. The album explores a wide range of electronic and acoustic improvisational conversations, creating expansive and constantly evolving sound landscapes.

The recording carries forward many of the qualities that have made Tomorrow Comes The Harvest so distinctive from its beginnings. The project originated through the percussive dialogue between Jeff Mills and the late Afrobeat pioneer Tony Allen. When thetwo creative forces first came together several years ago, what emerged was more than a collaboration or musical conversation. They opened a pathway-a way of creating through instinct, exchange, rhythm and freedom. That pathway continues to lead toward new horizons, and The Forbidden Planet is evidence of just how far it can travel.

The album is the result of an intricate creative process spanning nearly two years, connecting a series of recording sessions at notable studios including Criteria Studios in Miami, Soda Sound, and the legendary Studio Ferber in Paris, France.

The Forbidden Planet explores the more cerebral dimensions of the band's vast musical language. An idea is introduced, and almost immediately it begins to transform. Themes are questioned, reshaped and redirected as the musicians respond instinctively to one another.

As Tomorrow Comes The Harvest is known for, the performances were recorded largely through improvisation, often capturing the energy and spontaneity of an almost one-take process. These recordings were later carefully refined and shaped into the compositional structures heard throughout the album.

The creative seeds have been planted in fertile ground, allowing ideas to grow naturally and without restriction. In rhythm and in spirit, each musician contributes an essential voice to the conversation. Within that collective precision lies something even more important: a shared love of musical freedom and the possibility of creating without boundaries.

Prabhu Edouard - tabla and vocals
Jean-Phi Dary - keyboards
Jeff Mills - percussion and electronics

Featuring Rasheeda Ali on flute, with a special guest appearance by Laurent Vernerey on electric bass.

The Forbidden Planet will be released November 20th, 2026 on Axis Records on Double-Vinyl & CD + DVD. The DVD features selected live footage from Tomorrow Comes The Harvest, featuring Jeff Mills, Jean-Phi Dary, Prabhu Edouard and Rasheeda Ali.

Filmed & recorded live at London Jazz Café on September 27th, 2025, the footage captures highlights from the band's unique fusion of electronic music, jazz, percussion and improvisation.

Frozen Flashes is the new album by Okvsho, the Zurich-based project of brothers Christoph and Georg Kiss.


Recorded through sessions in Zurich and London, the album begins with musicians playing together in the room. Improvisations, rhythms, textures and small spontaneous moments are captured, then sampled, cut and rearranged into nine carefully shaped tracks.


Featuring collaborations with Azekel, Melodiesinfonie, FloFilz, Tenderlonious and Hadel, Frozen Flashes is built around the moments that are impossible to plan — brief flashes that appear in a session, disappear again, and sometimes become the starting point for an entire song.


Catch Okvsho +experience live across Europe this autumn — bringing Frozen Flashes on the road.

(Orange transparent vinyl, limited edition) Age Of Love's 3 most famous remixes on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.


Age Of Love wrote and released their most iconic track in 1990. It went on to become a stone-cold dance classic that inspired a whole trance movement that has endured throughout the years.Now its 3 most famous remixes are available on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.

Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.

Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.

»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«

»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«

Die erfolgreiche „ZYX Italo Disco: Best Of“-Reihe geht in die nächste Runde und präsentiert mit Vol. 8 erneut eine erstklassige Auswahl an Italo-Disco-Klassikern der 1980er Jahre. Auf dieser Doppel-LP erwarten den Hörer 14 sorgfältig ausgewählte Tracks, die den unverwechselbaren Sound der legendären Italo-Disco-Ära widerspiegeln.

Mit dabei sind beliebte Genre-Highlights wie J.D. Jaber‘s „Don‘t Wake Me Up“, Alan Ross‘ „Valentino Mon Amour“, Brian Ice‘s „Night Girl“ oder Cyber People‘s „Doctor Faustu‘s“. Ergänzt wird die Compilation durch weitere seltene Maxi- und Extended-Versionen, die bis heute auf Tanzflächen und in DJ-Sets weltweit geschätzt werden.

„ZYX Italo Disco: Best Of Vol. 8“ verbindet eingängige Melodien, atmosphärische Synthesizer und den typischen Charme der goldenen Italo-Disco-Zeit zu einem authentischen Hörerlebnis – ein Muss für Fans, Sammler und Liebhaber klassischer Dance-Music.

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.

Yung Lean - That's It (feat. Future & Metro Boomin)
Travis Scott - RHYNO (prod. by Guy-Manuel de Homem-Christo)
CA7RIEL & Paco Amoroso, PinkPantheress,
Fred again.., & Etienne de Crécy - Sexy Magic
Morgan Wallen - Last Thing You Need
Rauw Alejandro - Macacoa 2000
Keith Richards - Bright Lights, Big City

Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.


Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.


With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.

Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.


Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.

Volume 1 - Growth
Resurrection is a long-term musical work that has accompanied Christine Benz for almost twenty years. The first track was created in 2007 (track id - Born after Code), with another piece added nearly every year thereafter.
Throughout this time, she continued to produce other music while steadily developing her artistic language.
Musically, the album moves between minimal techno, ambient and experimental electronic music. Across different phases of her life, Resurrection gradually grew into an archive of her personal and musical evolution.
The complete work unfolds as a trilogy across Volumes 1-3.
At its core lies her fascination with sound as material. Rather than thinking in terms of conventional melodies, she works with textures, vibrations, and spatial relationships. A small number of elements give rise to complex sonic spaces, where minimal changes can have a profound effect. Mistakes, chance occurrences, and unexpected responses from the systems she uses also become part of the music. Even from chaos, remarkable structures
emerge. Whenever unplanned beauty reveals itself, she preserves it as a small “miracle” in which control and chance intertwine.
The complete work unfolds across three chapters: Growth, Structure and Resonance, exploring repetition, frequency, perception, consciousness and technological development in the relationship between humans and
machines. It moves from origin through the formation of an internal order towards connection and interaction.
Volume 1: Growth, draws upon the Fibonacci sequence and the spiral as symbols of natural development, with the music growing through repetition and minimal change into increasingly complex forms. Throughout the
project, technology appears as a tool, a partner and a mirror of our perception, raising the question of whether consciousness, responsibility and empathy can evolve alongside technological progress.
During the project’s long evolution, Donato Dozzy developed an interest in Christine’s distinctive sound design.
In 2021, this led him to propose his own interpretation of Our Determination for Volume 1, subtly reworking the track through his own musical perspective.
The artwork developed by Christine also went through a creative process of its own. The original photographs were taken in a basement around 2019, with a wet curtain draped over her. In 2026, she decided to transform
this visual world into a moving-image artwork. For the production, a film crew reconstructed the entire setting.
The video shoot demanded a great deal from Christine: after several hours beneath the wet curtain, the cold was no longer merely part of the staging. This elaborate creative process gives the artwork its distinctive character
and makes it an essential part of Resurrection.
The first chapter will be released in November 2026 as a double-vinyl edition housed in a distinctive gatefold sleeve with an inside-out finish, matte varnish, and partial raised spot UV varnish. Two further double-vinyl
releases, Structure and Resonance, will complete the trilogy. All three volumes will be released on Pirat Records.Records.

Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.

Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.

For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.

Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.

The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.

Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.

Ruf Kutz reaches release twenty-two with something close to heart...

Mike Kee is a face from the early days - red-lit rooms of the Bodega mushroom squat parties in Sydney. This is a second release for Mike Kee on Ruf Kutz since 'Seeing Crystals' on RK2 in 2010.
Recorded in the rainforests of Bundjalung Country (northern NSW, Australia). Making good use of a Fender Rhodes and a JX-8P synthesiser.

WHITE CLOUD PLACE is a destination that doesn't exist. Glimpsed once on a street sign, filed away in the imagination and allowed to bloom into an imagined geography of warmth and weightlessness.
The music is lush dream house that elicits euphoria out of the speakers and into the body. Mike Kee has been chasing this feeling across his music and here it lands cleanly.

Flip the record and the temperature ratchets up. BANANA MOON is one for the dancers - shuffling congas push the pace while Rhodes chords and those big analog synth strings hold the whole thing aloft.

Where the A-side invites you to float, Banana Moon keeps it pitched up and jazzy.

Released in the winter of 1995, Dah Shinin’ introduced Smif-N-Wessun as torchbearers of the gritty, sample-driven East Coast sound that defined a generation. Backed by Da Beatminerz’ haunting, jazz-laced production and supported by their Boot Camp Clik brethren, Tek and Steele delivered a debut that was as raw as it was revolutionary — capturing the essence of mid-90s Brooklyn.
Now, 30 years later, Dah Shinin’ returns in its most complete form. The 30th Anniversary Definitive Deluxe Edition brings together for the first time in one place, the full original album, two essential remixes "Wrekonize" and "Sound Bwoy Bureill" and rare material, including the long-unreleased “Nuttin’ Move But Da Money,” finally available officially after years on white label.
Pressed across three LPs and housed in a premium tri-fold jacket featuring original artwork, newly commissioned liner notes, period photography, and archival content, this expanded edition stands as a tribute to the album’s creation and legacy. From the underground anthem “Bucktown” to the crew showcase “Cession At Da Doghillee,” every track celebrates the timeless sound that made Dah Shinin’ a classic.

Dark Entries is proud to host Darlynn’s debut album, Dyke Den. Darlynn is an Oakland-based duo composed of Daria Lourd (aka Bored Lord) and her wife, vocalist Jaelynn Walls. Dyke Den is a lesbian love story about two creative individuals finding each other and themselves through effusive and contemplative sonic avenues. Created in their home over the course of two years, this album speaks to the journey of Daria and Jaelynn’s romantic relationship as well as their evolving combined creative impulses.

On Dyke Den, Darlynn display their influences – from Janet Jackson and Sly & the Family Stone, to Frankie Knuckles and Larry Levan – in a sophisticated, fully realized, and overtly queered fashion. Joyous dancefloor moments are abundant. Tracks like “Make Yr Move” and “Like A Summer” celebrate deep house vibes ala Alleviated Records, while sultry R&B moves are flexed on “Girl 2 Girl” and “Alright With Me.” But longing and yearning exist within this joyous arc, and the question arises: “How can I get you to love me?” More than an idealistic narrative of girl meets they/them, Dyke Den paints a portrait of love in all its multifaceted moments: the bids for commitment, the stagnation of years going by, the wormholes of desire. Yet the album maintains its thesis of hope. The sweet, layered harmonies of closing song “Love Letter” display the power of life partnership: “My whole life is a love letter to you.” Dyke Den features artwork by Hailee Va in a sleeve designed by Eloise Shir-Juen Leigh. Darlynn’s final declaration, “We are all creatures of desire, completely built for love.”s

Edgar debuts on Dark Entries with Pavor, an 11 track LP of sleazy disco, warped synthpop, and gothic cumbia. Veteran musician Luis Gutierrez has spent the past two decades touring in bands, running Lalalandia Studio, and building his practice in Oakland and Guadalajara. But now, for his first solo outing, he has become Edgar, a pop star who knows no limits! “Edgar feels mightier than anyone but is always reduced to his vices” says Gutierrez, and Pavor delivers vices in spades. From the opening salvos of “Otra Agua,” it’s clear we’re in for a wild ride: seasick synths slide along slamming disco beats, menacingly chanted vocals sit amid a flurry of careening horror movie samples. The mischief does not abate as we’re guided through a demented funhouse of genre detournements.

Edgar puts his indelible fingerprints over every inch of this vinyl, from uptempo numbers like the spooky chip-tune frenzy of “Nunca Mas” to the twisted cumbia of “Panteon.” We’re even treated to a fairly faithful (and majestic) Spanish-language cover of Amanda Lear’s “Follow Me,” here titled “Sigueme.” EBM, space disco, and horror movie soundtracks all find their way into the mix on Pavor, but the diverse palette comes together perfectly, like a Yello album for the 21st century. Pavor comes housed in a sleeve designed by Eloise Shir-Juen Leigh and features a photograph by Izaak Schlossman. Also included is an insert with lyrics and notes. On Pavor, Edgar brings us a healthy dose of pure excess, reminding us that dread can be a hell of a lot of fun.

Following their acclaimed collaboration with Mad Professor, Sensible Soccers return to 8mm Records with a brand new remix EP featuring three true cult producers: Tolouse Low Trax, Danilo Plessow and Peaking Lights.

Opening the record, Tolouse Low Trax reshapes “Efeito Zandinga” into a mesmerizing journey connecting the hypnotic afrobeat of Fela Kuti with the raw pulse of Detroit techno. Ritualistic, immersive and deeply transportive.

On “Saravá”, Danilo Plessow turns the original track into a powerful acid house banger reminiscent of his recent Rude Futures productions, while preserving the warm and organic sensibility of Sensible Soccers. The result is an explosive blend of adrenaline, groove and uplifting energy, destined to set summer dancefloors on fire.

Closing the EP, Peaking Lights deliver a stunning reinterpretation of “Rosa Mota”, elevating the post-dub and psychedelic side of Sensible Soccers into a cosmic electronic voyage of remarkable depth. A simply beautiful finale that pushes the band’s sonic universe even further into new psychedelic and electronic territories.

Three remixes, three unique visions: a powerful meeting point between psychedelic dub, afro-futurism and forward-thinking club music.

Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.

Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.

Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.

Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.

Pure Motorised Instinct drives over to Dark Entries with At Last I’m Leaving the Earth, an LP of industrial-tinged ambient and new age. When legendary industrial outfit Nagamatzu went dormant in 1991, band member Stephen Jarvis moved forward with Pure Motorised Instinct, a name he pulled from a line in George Romero’s Dawn of the Dead. Throughout two cassette albums - 1991’s Between Intimacy and Elsewhere, and 1993’s Everything Is True - Jarvis pushed the Nagamatzu spirit in new directions. At Last I’m Leaving the Earth collects 9 tracks from this era, which are appearing on vinyl for the first time, along with 3 additional tracks on a bonus CD. The material here sits between the brooding and the optimistic, the claustrophobic and the soporific. Jarvis’s digital synths are pushed so far into tape-scuffed terrain that they talk and squawk analog-like, scurrying with vibrant curiosity. The late-night vibes peak on pieces like “Vincent V,” with its reverb-drenched digital drum machines, or “Geek,” which taps into a wide-eyed proto-vaporwave zone.    At Last I’m Leaving the Earth is Black Lodge ambient for the empty set. 

Few contemporary labels even come close to the output and influence of Lempuyang in terms of dub techno. Albums, 12"s and EPs come thick and fast and the latest is the first part of the fourth in the Pura Lempuyang series, which offers a glimpse at what they do best. Upwellings begins with Maurizio-style, smoky dub techno before Rothchord ups the drive with a more forceful kick. Paul Simmons's 'Burial (Natty Haffi Dread)' reflects the traditional roots of dub with a more 70s style cut, Another Channel slows to a crawl with an eerily empty arrangement and Inner Echo drives things home with a timeless fusion of molten dub chords and cuddly kicks.

Fantastic Man returns with Total Djreem, two long-form trips. Excursions into hypnotic, psychedelic club territory. The original unfolds in widescreen, balancing momentum with a hazy sense of space, while O.BEE takes things deeper on his Acid Shower Mix, twisting the track into a more acidic, heads-down affair with the kind of unexpected turns that have become his trademark.

Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.

Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.

Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.

Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.

Patrick Sullivan is P-Sol, the New York City-based edit king who is a dab hand at mashing together classic old-school joints into killer grooves with a different perspective but the same dance-floor pull. PS7 is the place he does it most often and where he lands with a tidy new two-tracker. First up is 'It's Love' (P-Sol edit), a twist on a neo-soul jam that he layers up with extra claps and swaggering bass that adds a sleaziness that is irresistible. On the flip, 'Whatever' (P-Sol remix) is a flip of another jewel. It retains the storytelling vocals but is repurposed as a slow, deep and cosy r&b bumper. Essential for those who like it slow.

Nail is one of our favourite house artists. He was a key player in the 90s, not least with Nottinghman's DiY, then disappeared for many years before returning a decade or so again. Since then he has kept on turning out unique house jams (there have been tens of them by his and others on his latest label in the last six months) and now curates the first volume of House Fire Records material for his In The Dance label. This compilation brings together his aliases Scorpio Parish, DJ XE0re, George F, Peoples Inc. and Five Bagonag. The grooves are killer, the production perfectly undercooked, the swing often central to everything.

Berlin-based Mor Elian is back as Alloy Sea with a new work exploring spacious dub and tape-processed soundscapes following an ambient outing, Xoomin, back in 2023. This is music for quiet moments and private contemplation with slowly unfolding arrangements and many layers made from synth, hiss, texture and the scantest of melodic motifs. The release also features the project's first vocals with Emkay of Trickpony on 'Air Index' adding a human soul to the widescreen designs. It's a hugely evocative and cinematic world and another doozy from Elian that culminates with the eerie and sparse 'The Receiver', which is full of scattered found sounds that slowly coalesce into a rhythm.

Krypton 81 returns to Pan-Am Tracks with Resonant Dimensions, a five-track transmission of cold electro rhythms, synthetic atmospheres, and deep-space frequencies.

Moving through plasma, particles, distant stars, and electromagnetic phenomena, the release explores the space between scientific abstraction and machine rhythm.

Techno is an experimental journey: deep, moving, cinematic, carried by science-fiction dreams steeped in true melancholy. Over time, much of this heritage has faded away. The soul and spirituality of the music have receded, giving way to the oversized ego of some, and to the constant need to show off on social media: a techno that looks beautiful, but is sterile, limited, meaningless, with no jazz, gospel or disco influence at all. The innovators, whether African-American in Detroit, Chicago and New York, or German with Kraftwerk, bet everything on the hypnotic and mesmerizing side of this music. "Lost Spiritual" was born from this observation, with a simple idea: to give more credit to the music and what it makes you feel than to the musician's look or haircut. This record is a tribute, an inspiration, and the hope that the spiritual dimension, which was the priority in the early 80s, will never die.

La techno est un voyage expérimental : profond, émouvant, cinématographique, porté par des rêves de science-fiction empreints d'une véritable mélancolie. Avec le temps, une grande partie de cet héritage s'est effacée. L'âme et la spiritualité de la musique ont reculé, laissant place à l'ego démesuré de certains, au besoin permanent de s'afficher sur les réseaux sociaux : une techno belle en apparence, mais stérile, limitée, vide de sens, sans aucune influence jazz, gospel ou disco. Les innovateurs, qu'ils soient afro-américains à Détroit, Chicago et New York, ou allemands avec Kraftwerk, misaient tout sur l'aspect hypnotique et envoûtant de cette musique. « Lost Spiritual » est né de ce constat, avec une idée simple : donner plus de crédit à la musique et à ce qu'elle procure qu'au look du musicien ou à sa coupe de cheveux. Ce disque est un hommage, une inspiration, et l'espoir que la dimension spirituelle, qui était la priorité au début des années 80, ne meure jamais.

Teemon and Poomba go looking for light in the darkness on their new EP “Hopeless.” The Madrid duo have a knack for dragging nostalgic sounds into the present, and this release is no exception. With equal parts Hi-NRG euphoria and dark disco dread, the four tracks feel like a glitchy transmission beamed in from another decade, or perhaps another galaxy…

The title track, “Hopeless,” sends us hurtling down a wormhole. Powered by a cavernous bass, we are propelled through kick drums, warp effects and sparkly synths, while a distant voice calls at us through the darkness.

Iranian producer Amirali takes “Hopeless” somewhere a little lighter with his remix, easing the intensity down before letting it slowly climb again. His version foregrounds the track’s earworm synth line and builds on it, layering and expanding on the vocal line until it sounds celestial. Amirali’s skills as a classically trained pianist feel reflective here in his compositional approach.

If “Hopeless” is the wormhole down, then “Moon Connections” is what’s waiting on the other side. The track leans heavily into sharp, percussive sounds that form a grounding contrast to the high synths that glitter above. With a spoken word line that sounds like it’s being transmitted through a space-age radio and enough deep warp effects to get lost in, this B side sends us to the stars.

Closing things out, the Eagles & Butterflies remix of Moon Connections brings us down to earth. Chill, deep-house adjacent and with a hint of Daft Punk in its DNA, it wraps a heavily filtered guitar line around a softened groove built for the comedown – the sound of the sun coming up on the last people left on the floor.

Scottish producer and label owner Graham Wilson signals a new phase for Seventh Sign Recordings with a four-track EP that blends Detroit techno roots with bright European electronic colours. Across the release, Wilson moves between pulsing four-on-the-floor rhythms, analogue basslines, crisp drum-machine percussion and shimmering synth work. "Mode" opens with an energetic, uplifting drive with steady kicks, pulsing bass and bright synth leads shaped with clean, modern production and side-chained pads. "Oberheim' follows with warm analogue textures, arpeggiated lines and optimistic pads, carrying a classic synth-wave feel while keeping a tight, Detroit-leaning groove. "Are You There" pushes into tense, atmospheric territory: rising pads, crisp hi-hats and a pumping bassline build momentum, giving the track a spacious, late-night techno edge. Closing cut "Parallel Lives" shifts into retro-futurist mode, neon-lit and melodic, evoking 80s energy and nocturnal late night drives. All in, a strong, forward-looking EP that connects machine-soul heritage with modern electronic clarity, ushering a fresh chapter for Seventh Sign.

Blur Records marks eight years of international artists and bright, instrumentally rich disco jewels with the second part of its anniversary compilation. The super reliable Monsieur Van Pratt opens things joyfully with 'Just Wanna Make You Dance' complete with strutting bass and disco-house grace that never stops soaring. Delfonic's 'Diamonds' brings filtered depth and a soulful sparkle that supports the glittering vocals. Reiner Von Vielen & Dizko Kreme's 'Good For You' rounds out the A-side with more rooted, chugging disco and a vocal that tugs at the heart. Flip it over and N.W.N.'s seven-minute 'Twin Souls' is a soulful house dreamer, Andy Bach's 'Keep Going On' samples a classic horn riff in a rolling groove, and Sven Wegner & Reiner Von Vielen close with the sophisticated and jazzy house cool of 'Inside Of Me. ' Here's to the next eight.

Flowgeist emerges from a shared inquiry into sound and aesthetics. Genre remains peripheral; meaning stays tethered to sensation. The self-titled debut, released on Evighet Records (EVIGHET007), follows that logic across a full record, moving from matter to memory and giving passing states somewhere to stay. Trip Hop, Drum and Bass, post-punk, breakbeat, EBM, Techno and modular electronics all surface within it, summoned only where a feeling demands them, with acoustic instruments retaining their grain inside the electronic frame. The A side keeps its instruments close and its focus intimate, opening on "Molecules," where Zainab J Lascandri's voice and Arthur Boudet's guitar set the album's tone before it moves through cycles that won't break: a life stuck in place, a trust already gone bu14t still being tended, an attraction whose charm thins out under repetition. That inward attention eventually turns outward, closing the side on a colder note about how influence gets performed and mistaken for substance. The B side works through broken rhythm and cinematic scale. It examines political language for the seams in its polish, follows a relationship reduced to proximity without real contact, and rises to the record's most forceful club passage before settling into "Crystal Muse," where Massimo Capobianco's guitar moves alongside an extended modular passage, luminous and unhurried. The album closes by turning its attention to composition itself, treating the act of writing music as a way of holding onto experience before it disappears. Across both sides, the record travels from immediate, bodily feeling toward something more contemplative, carrying the same emotional attention from private entanglement into wider systems and finally into the quiet work of making the record itself.

Moving In Silence welcomes AI Robot for its third release, balancing driving grooves and deep atmospheres, the Bucharest based dj/producer crafts four underground hits that will not leave the bag.

Should you happen to have been paying attention to progressive house and trance in the mid 1990s, you may well be familiar with Brendan McCarthy's most celebrated release as Aquartherium, 1994's Full Moon EP. It was a massive record across Europe but also found favour in San Francisco's freewheeling free party scene. 'Full Moon' itself is especially potent - an all-action chunk of hallucinatory progressive house/trance fusion full of star-burst synth motifs, bubbly electronics and ambient techno sonics - though the heavier, bleep-sporting, Brown Album-era Orbital flex of 'Luci In Deep Hypnosis' is just as good.