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Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous 'K&D Session' remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly.
Often compared to DJ Shadow's 'Endtroducing' for it's similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin's 'Top 20 albums of 1999'.The album has long since been deleted on Vinyl with original 4LP sets changing hands for €300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over €100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood.

after midi010 the label will now also spotlight on their outstanding artists - starting with the probably best techno-producer in town: fin phranklin !!! his debut solo-ep ranges from rampaging off-beat techno like t.raumschmiere to some more electronic easy-listening vocoder techno - just a pure pleasure to listen to

DJ Deeon presents his masterepiece from 1994 "Funk City" originally released on Dance Mania now on CHIWAX CLASSIC EDITION Vol. 32. A must have for all Chicago & Ghetto House - fans!

Features Many Of The Premier Female Vocalists To Emerge From France During The 60s Including France Gall, Jacqueline Taïeb And Françoise Hardy

Attraktors are JFlower: Antronhy: Jhon:

Former members of Six.BySeven: Bivouac: Julian Cope: The Selecter: Nectarine No9

Inspired by Minimalism: Fripp: Eno: Marcel Duchamp: Krautrock: Proto-Punk: Soundscores: Sci-Fi: Computer Science.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

Third album from U.S. Hip Hop rapper, singer and producer.
The album has already charted Top 10 ahead of the 17 song physical release. Includes the Top 10 hit single "Sicko Mode" and more to follow. Radio support across R1, Capital, Kiss, ILR, with playlists and ads. Online, social media activity. Ads, features, interviews and reviews across all press. Video plays at Vevo and MTV.
Just moved to November 9th.

Rhythmic Brutalism' is the title of this release, available as a two CD set or two separate LPs, the title is also a very apt description of the music itself. Romanian-born Alexandra Atnif was fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnif' s music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

BAR records is the lovechild of BAR Rotterdam, a club founded in 2013. BAR records will release a variety of music linked to the club, by people that are regularly playing in the laid back colorful space that is BAR. We are excited to announce the first release with French label owner of Macadam Mambo, Sacha Mambo, who made us some trippy originals, and local Fader (from Borneo). He created a trancy banger aswell as a more dreamy house track.

hand-numbered clear mint vinyl LP in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive)

A lucid, dynamic, atmospheric trip through consciousness, incorporating an incredible range of texture, tone, and three-dimensional space. This is a glimpse into the most emotive, most personal of Dead Fader's extensive work. There are delicate moments of introspection, furtive agitation, and exuberance, all tightly interwoven into a singular, enthralling whole.

EMEX is the emergent project of George Apergis, owner of Modular Expansion based in Athens & Berlin. EMEX "ZEX" is the forth vinyl release on Modular Expansion Records and comes after the release last January on Credo Records. The EP includes 2 unreleased EMEX tracks, "Function Mode" a hard kicker with minimal acid synth-lines, go beyond into a pumping futuristic version and "Electrical Highway" transpires from harder realms to acidic basslines and trippy arpeggios. The b-side is an EMEX version on George Apergis smash hit from 2013 "Ekhowax", a perfect club tool edit with a unique US Chicago style, an instant hit.

Normals Welcome is pleased to bring you Rest Corp, a brand new project formed by Project Pablo and Khotin! Their debut release "Infinity Scroll", created during a week long session at Deep Blue in Vancouver, includes 3 highly effective tracks spanning from the arpeggiated House moods of "Love it TBH" to the depths of the dubbed-out title track. The 12" is then capped off at peak intensity with the tough rhythmic basslines and high-pitched filtered freak outs of "Current Mode". We hope you enjoy the sounds of Rest Corp.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Mnestic Pressure' is Lee Gamble's first album since 2014 and his first with Hyperdub, a reset that sees a noticeable change in his sound and the concepts that feed into his music. Lee says 'From Diversions 1994-1996' (2012) through to Koch' (2014) - my music felt like I was dealing with signals from elsewhere - signals from the unconscious, sub-aqua, hallucinated, dreamt. Mnestic Pressure' feels like their decoded offspring, a terra interpretation.' The title Mnestic Pressure' comes from Lee's thinking about how our contemporary memory is pressured, individually, but also collectively. 'We live in these strobing, visual times, like a constant subliminal advertisement but, also over the last few years the world seems to have become more and more dreamlike, alien, and parodic itself and there was this part of me that wanted to drag my music back from this Shangri-La, but fully drenched and infected by its ghosts.' Mnestic Pressure' as a whole is a simulation of this experience, a flow of targeted information, through contrasting and quickly changing terrain, from one track to another you're dragged into a new space. The pressure to move is intrinsic to the flow of the album, one thing morphologically transforms into another, zooming in and out from wide angle to detail, reshaping into new forms at a speed Lee's music hasn't before. The music on Mnestic Pressure' has a hardness, with a structure and melody that was sublimated in Lee's previous LPs. It builds on his more recent experiments with more functional dancefloor forms. Here his hypermodern production and crunchy, dissembled beats feel like they could be malfunctioning holograms projected onto the hallucinated memories of his early work.

germany-via- artist osker offermann, the owner of leading label white presents us a quality dou-bled package on the mule, strongly effecting his meditated mindsets.
as well as his dj sets, his crafted productions have a superb balance between being not too exces-sive, but not being too minimalistic -

creating the dynamism which make people move, based on his own aesthetic featured with well-polished, functional electro phrases and raw machine beats.
because of its floating grooves, will be nice for club use, but also surely will be a good accompany for the home-listening. oskar continually points forward us the fact, that listening to deep house is no longer meandering journey, but something meaningful and fruitful in your life.

"Rising 2016" is deep and dubby balearic tech house. Netto Houz sampled their classic Ladomat 2000 track "Rising" to produce two versions of a floating and swirling monster, a late transatlantic descendant of electronic krautrock as well as tracky Chicago House. The latter becomes evident when DJ Kriton reworks the drum parts in his jackin' "Rising Beats".
Get two copies of this 10th release on Knuggles Recordings and mix them from breaking dawn to bright morning sunlight!

Delivering Verse III, Synthek concludes the first trilogy on his newborn imprint STK, showing once again is unrestricted approach to modern techno, which spans from bleeping offbeats to more stompin' and melodic tracks. 'Distress Mode' opens the record with a slow and solemn intro, ripped off by broken beats and obsessive bleeps, which escalate quickly into sonic madness. 'Diverse' closes the Aside with a somehow funked out mood, sounding causal at first, but recomposing once hihats break in, into a slick syncopate cut. The flipside is definitely more club oriented, opening with 'Reflection', where heavy beats and haunting melodies build up ceaselessly momentum. Last minimalistic cut : 'The End' finalises the release with propulsive rhythms designed to twist the dancefloor.

The debut of Endlec & Euskalraver on Children Of Tomorrow who delivered some proper massive timeless Techno on this last split EP. We saw lately Endlec on MORD & Euskalraver on Raw Surface. Don't miss it!

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Planet Rhythm is gearing up for the second effort in their PRRUKBLK series. Both Moerbeck and Fanon Flowers have come up with 2 gritty peak-time anthems made out of heavy drum-action, distortion and hazardous percussion. Moerbeck's A-Side is a ferm combination of granular synthesis and vigorous drums. Where "Black Hand" recalls memories of graveyard shifts in soviet coal mines, the A2 track Mode evokes up a more tripped out state of mind.
Fanon Flowers lays down a more ominous ambiance for his B1 track that has the more than suitable title "Vultures Circling Part 3". Closing down the B side we find "Vultures Circling Part 1" which carries that same threatening vibe but with even more energy due to the use of abundant percussion.

Almost exactly three years after the first, Redshape has readied his second Red Pack, due for co release by his own Present imprint alongside his frequent Dutch home, Delsin, in June.
Whilst the world is still enjoying the German's latest album "Square", the man himself has typically moved on once more. On Red Pack II he offers up six tracks new of hugely atmospheric and romantically industrial techno across two pieces of vinyl.

First up, 'Disco Marauder' has raw, jangling beats, traumatised vocal cries and plenty of sci-fi ambiance all coalescing into a filmic techno tapestry, before 'Path Dub' goes deeper and more streamlined with rattling claps peeling off taught synth cables in hypnotic fashion. The same track also comes in an original version, which is a much more jagged, roughshod and textured affair.

'The Source' is a track slowed to a crawl that almost seems to want to collapse under its own weight. Machines gurgle and gargle, the beats march on with a heavy heart and widescreen synths all that ever present sense of cinematism that makes Redshape such a unique producer.

Standout track 'Daft Mode' features a beautiful Reese bassline and rich layers of classic Detroit chords of the sort Inner City once championed. Redshape then pairs them with slicing percussion and loose limbed but tough edged beats and lets them roll on to a blissfully emotive oblivion... Fans of 'Mucky Bones' from the first Red Pack might see this track as a close relative. Last track 'Bulp Head' is one of Redshape's more euphoric tracks thanks to the glistening and pixelated melodies which rise up and up through choppy, metallic percussion. It closes out another release from Redshape that offers six more classic pieces that are as idiosyncratic as they innovative..

Synewave adds the youngblood of Delko. Hailing from Portugal this EP is 4 solid tracks of thumping techno with moods and proper bass movements.Limited vinyl release

“Stankface” finds Funkmaster Ozone deep in his natural habitat: a raw, playful P-Funk workout driven by a heavy bass groove, punchy drums, elastic synth lines and his unmistakable talkbox. Packed with swagger, humor and irresistible head-nodding energy, the track connects classic Parliament-Funkadelic and Zapp influences with polished modern-funk production.

“Bust A Move” takes Funkmaster Ozone straight back to the golden era of Electro-Funk, combining hard-hitting 808 drum-machine rhythms, funky synth bass, futuristic textures and infectious vocoder vocals. Robotic, playful and built for the dancefloor, the track channels classic old-school electro and boogie energy through Ozone’s unmistakable modern production style.

Remco Beekwilder makes a powerful return to EMERALD with his 'Rhythm Pressure EP'. Channeling old-school energy through a modern lens, he hits real and direct with a dash of funk.

A defining electroclash anthem returns to wax. Tiga & Zyntherius's cult classic Sunglasses at Night gets the deluxe vinyl treatment, featuring the iconic original 12" mix that set dancefloors ablaze in the early 2000s-plus a thunderous rework by techno titan Chris Liebing, who injects it with deep, industrial muscle for the modern floor.

Whether you're chasing nostalgia or sonic intensity, this is a must-have release for collectors, selectors, and nocturnal creatures alike.

“What Robot Says L” on What Robot Says Records is a deeply immersive Dub Techno journey crafted for demanding listeners who seek atmosphere, precision, and emotional depth beyond conventional dancefloor music. Across four carefully sculpted tracks, the release moves through shifting moods and textures, balancing raw energy with subtle elegance while exploring the deeper and more hypnotic side of techno.

A1. Nicolas Barnes – Dusted Maze opens the EP with a smooth and introspective approach, combining delicate textures, refined grooves, and floating harmonic layers that capture the timeless spirit of classic Dub Techno through a modern lens.

A2. Continuing the journey with TM Shuffle, Monoder – Vihreesametti delivers a warmer and more fluid interpretation of the genre, blending rolling grooves, dub-driven chords, and sophisticated sound design into a deeply immersive experience.

On the B-side, B1. Denizo – Versus follows with dark dub pressure, stripped-back rhythmic architecture, and evolving ambient detail, creating a hypnotic late-night atmosphere filled with tension and movement.

B2. Closing the EP, The Open Circle – Shinkai dives into deeper and more mysterious territory, emphasizing submerged atmospheres, minimal rhythmic tension, and profound spatial depth that slowly unfolds with every listen.

WRSL1 – “What Robot Says L” is not designed for casual listening, but for those who appreciate Dub Techno as an evolving exploration of mood, space, and sonic detail — a refined and highly immersive statement from some of the genre’s most skilled contemporary artists.

but wait a minute.. Does anybody know What Robot Says?

For South Central’s premier singer, songwriter, and producer, success was never an overnight accident; it was a blueprint executed with meticulous precision. With his highly anticipated project, Labor of Love, Blxst delivers a masterclass in modern West Coast R&B and Hip-Hop, proving that true artistry requires both sweat and soul. The album serves as a sonic manifesto on the price of ambition, the weight of loyalty, and the delicate balance of maintaining romance while building an empire. It stands as a definitive evolution of the distinct sound Blxst pioneered, blending crisp, trunk-thumping 808s with soulful, nostalgic chords and his signature, effortlessly smooth vocal runs.

Entirely self-produced and co-written, Labor of Love bridges the gap between the sun-drenched grit of Los Angeles street culture and the vulnerability of late-night bedroom playlists. From the bounce of celebratory anthems to introspective, late-night drive confessionals, Blxst curates a tracklist that feels both deeply personal and universally resonant. It explores the sacrifices made in the pursuit of greatness, paying homage to the sonic pioneers of LA while firmly cementing his own place as the vanguard of the city's modern sound. It is a celebration of independence and the self-made mentality, reminding listeners that he remains the chief architect of his own destiny.

Ultimately, Labor of Love is a testament to the grind, capturing the sleepless nights and tested relationships that pave the road to success. Blxst puts his heart on the line to show that the work itself is where the true passion lives, creating an album for the city, for his family, and for everyone who stays dedicated to their craft. More than just a collection of radio-ready hits, this project is a cohesive, cinematic experience from one of music's most reliable hitmakers. It is a definitive reminder that Blxst isn't just riding the wave—he is directing the current.

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

Pronounced Zero (ay ay) RIOT
Shit and Shine go fully CAN on their eleventh album release for Riot Season since their debut way back in 2004.
DEEP SOLID GROOVE REPETITION !!
Fully CAN in the sense that the rhythms are VERY CAN LIKE, but with a modern sharper edge and less flowery decoration. If CAN had a Roland TR-1000 drum machine it might sound a lot like this!
Basically all your favourite bits of krautrock, but sharpened up with modern tools, and it works perfectly! Say it again … DEEP SOLID GROOVE REPETITION !!
It’s definitely danceable, if that’s your thing, but also definitely deeply listenable. Something to put on and fill the space with infectious groove while you wash the dishes or drive your car, have your workout (I’ve heard from several sources $&$ makes excellent workout music) or whatever.
Two long songs on each side of the record. It’s an absolute beauty and actually sounds like shit and shine might be taking things a bit more seriously for a fuckin’ change! BRAVO !!!

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

UK experimental multi-instrumentalist Oli Heffernan (aka Ivan The Tolerable) returns to independent label Riot Season Records on October 23rd, 2026, with The Planets, a fierce, tension-fuelled reinterpretation of Gustav Holst’s iconic orchestral suite tailored for the modern age.
Originally composed over a century ago to capture the astrological characters of the cosmos, Holst's masterpiece receives a radical, uneasy update. Where the original composition leaned on grand symphonic sweeps, Ivan The Tolerable strips away the comfort of the orchestra, replacing it with fracturing analog synthesisers, claustrophobic tape loops, and the hypnotic, nervous pulse of modern kosmische music and avant-garde noise.
The Planets is an album forged in the specific dread of 2026—a year defined by geopolitical instability, climate weariness, and pervasive societal tension. Rather than looking up at the stars in awe, Heffernan turns the telescope back toward a fractured Earth. From the staggering, industrial-tinged dread of "Mars" to a hollow, melancholic take on "Jupiter," the album transforms familiar motifs into an immersive exploration of collective psychological fatigue.
Recorded in isolation by Heffernan, the project captures the signature solo vulnerability seen on his recent landmark releases like Psychogeography. It balances moments of deep, meditative stillness with sudden, jarring eruptions of noise, offering listeners a space to both confront and process the overwhelming static of the everyday world.

Following the success of the inaugural all-Jiri Jiri edition, Batov Records returns with the second instalment of its Give Me Disco series, once again curated by label co-founder and globe-trotting selector DJ Kobayashi. Rather than revisiting familiar disco classics, Give Me Disco Vol. 02 digs deeper, bringing together four dancefloor discoveries from across Europe and Asia, including two previously unreleased tracks available here for the first time.

Spanning Portuguese jazz-funk, Norwegian cosmic oddities, Japanese-inspired psychedelic disco and cinematic groove, the EP reflects the breadth of Kobayashi's record bag - a carefully assembled selection of tracks that have soundtracked his DJ sets for years alongside exclusive material rescued from the vaults.

Opening the record is The Bam Jam Band's brilliantly understated "Theme", a soaring slice of jazz-infused disco from Portuguese musicians Sérgio Alves and Pedro Tenreiro. Originally released only as a now long-sold-out 7 inch on Mad About Records, the track has become one of Kobayashi's trusted secret weapons, championed by discerning selectors including Darryn Jones and Red Greg. Built around Alves' dazzling synthesiser work, "Theme" finally gets the wider audience it deserves. The EP's first exclusive arrives courtesy of D. Apal, instrumentalist and member of Norway's Flammer Dance Band. His only solo release, issued on the band's Lysketrekk Records, has become a cult favourite among adventurous record collectors. Batov now unveils the previously unreleased "60 Meter'n (Rytme)", an extended instrumental dub that strips away the vocals to let the handclaps, cavernous bassline, dub effects and wonderfully eccentric synthesisers breathe, transforming an underground favourite into an irresistible dancefloor weapon.

Side B opens with YĪN YĪN's "Tokyo Disco", taken from the band's acclaimed third album Mount Matsu on Glitterbeat Records. Long-time admirers of the Dutch quartet, Kobayashi has championed them since first hearing the breakthrough pairing of "Dis ̄ kô Dis ̄ kô" and "Dion Ysiusk" on Bongo Joe. Since then, he has hosted the band twice on Soho Radio and supported them live in London. "Tokyo Disco" perfectly captures YĪN YĪN's distinctive blend of Japanese-inspired psychedelia, Southeast Asian influences, post-punk funk and shimmering disco grooves, making it a natural fit for the Give Me Disco series.

Closing the EP is another exclusive from Jiri Jiri, whose contribution helped launch the series on Vol. 01. Ahead of their forthcoming album later this year, the duo unveil the previously unreleased "Spaghetti Western", a wonderfully off-kilter fusion of Morricone-esque cinematic atmosphere, taut funk rhythms and the soulful modern groove of SAULT. Equal parts soundtrack and dancefloor curveball, it provides a fitting finale while offering another tantalising glimpse of what's still to come. With two exclusive cuts sitting alongside two carefully chosen modern classics, Give Me Disco Vol. 02 is another lovingly curated snapshot of DJ Kobayashi's musical universe: borderless, groove-driven and unapologetically built for adventurous DJs, discerning collectors and open minded dancefloors alike.

Mit "Echoes of a Forlorn Land" schlagen Mental Cruelty ein kühnes neues Kapitel auf und liefern ihr bislang ambitioniertestes Album ab. Die Band geht weit über die Grenzen des modernen Deathcore hinaus und schafft einen unverwechselbaren Sound, der Blackened Death Metal meisterhaft mit Elementen aus Black Metal, Folk und Power Metal verbindet - ein fesselndes und filmisches Hörerlebnis, das in ihrem Gesamtwerk seinesgleichen sucht.Inspiriert von nordischer Mythologie und alter Folklore entfernt sich das Album bewusst von bekannten Klischees und erkundet stattdessen die dunkleren, mystischen Aspekte vergessener Legenden. Authentische traditionelle Instrumente aus ganz Europa und Asien verleihen dem Album Tiefe und Atmosphäre, während vernichtende Riffs, unerbittliche Blastbeats, eindringliche Orchestrierungen, schwebende Melodien und wilde Gesangspassagen eine intensive und zugleich emotionsgeladene Reise schaffen.Produziert, gemischt und gemastert vom legendären Jens Bogren (Dimmu Borgir, Behemoth, Kreator, Amon Amarth, Opeth uvm.), zeigt "Echoes of a Forlorn Land" Mental Cruelty auf dem Höhepunkt ihrer kreativen Schaffenskraft. Nach dem bahnbrechenden Erfolg von "Zwielicht" hat sich die Band fest als eine der führenden Kräfte im modernen Extreme Metal etabliert und erfreut sich eines schnell wachsenden internationalen Publikums in ganz Europa und Nordamerika. Dies ist nicht nur das nächste Mental-Cruelty-Album - es ist der Sound einer Band, die ihr eigenes Genre neu definiert.

Dolly TS welcomes Juri Heidemann! The versatile german producer is known for his modern stripped hypnotic grooves and unique rhythm textures. His Echo Mute EP strikes hard with a set of deep captivating, pumping, melodic, razor sharp techno!

Repress

Introversion, one of our most prominent discoveries, joins the golden side of the label with a stunning release that confirms his great skills. He vigorously continues to deliver this very unique 90's rave sound melted to some modern aspects of hip-hop and Techno with 3 Original cuts, on the flip side the debut of a duo that doesn't need much of an introduction, Obscure Shape & SHDW remixes Onryo, taking this already amazing record to a bigger and wider space.

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

2026 Repress

With his first release on co-owned Smallville-Label Lawrence aka Peter M. Kersten celebrates another tribute to more than 20 years of House Music. Wether it is the magic sound of Nick Holder or modern grooves of labelmates like Melchior, Pronsato and Christopher Rau- this EP is full of inspiration. Beyond the club influences Kersten was mainly driven by slow Detroit Jazz from the early 70ies and classical Minimal Music which make the colorful taste of this EP. With "Sorry Sun" Lawrence invites to another adventure into the miracle of a cosy dancefloor letting only the music shine and the people close their eyes and smile. Sorry Sun, here comes the Night.

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.