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Released on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

MCRV020 – Byeffect EP marks Overt's return to MixCult Records with four refined Deep Tech House productions that showcase his versatility through four distinct moods, each crafted with dancefloor functionality and musical sophistication in mind. Designed for both daytime sessions and late-night moments, the EP balances warmth, groove, and timeless underground aesthetics.

Ready opens with uplifting energy and infectious rhythm, while Alias moves into deeper, hypnotic territory through rolling grooves and subtle textures. On the B-side, Thermal delivers a more driving atmosphere with elegant sound design, before the title track Byeffect closes the release with playful house grooves, memorable melodies, and effortless dancefloor appeal.

Throughout the EP, Overt demonstrates an exceptional ability to shift between different sonic landscapes while maintaining a cohesive identity built on positive vibes, fluid movement, and carefully crafted grooves. Byeffect EP is another strong statement from one of MixCult's veteran artists, delivering a versatile collection equally suited for intimate listening and sophisticated club environments.

KREI002 – Movement Theory EP marks the Kreisform debut of Spanish producer Rapha Mundi, delivering four uncompromising cuts that embody the raw, dark, and hypnotic essence of contemporary warehouse Techno. Built for peak-time moments, the EP channels relentless energy, electrifying tension, and mysterious atmospheres through powerful rhythms, textured sound design, and immersive sonic architecture.
From the driving pulse of Static Ride III and the hypnotic movement of Spinal Wave to the stripped-back intensity of Static Ride and the closing force of Au Cortado, each track explores a different shade of Rapha Mundi's sound while maintaining a cohesive identity rooted in precision, power, and dancefloor functionality.

Behind the project is Rafael Marín Hernández, better known as Rapha Mundi, a Spanish DJ, producer, and cultural promoter with over fifteen years of experience. Alongside his productions, he has played an active role in strengthening his local underground scene through event organization, collaborations with platforms such as DLC Kultur and Radio Relativa, and the recent co-founding of Buenobueno Discos.
Movement Theory EP reflects this vision with a focused collection that reinforces Rapha Mundi's commitment to forward-thinking Techno, uncompromising sound design, and peak-time functionality.
Kreisform is a division of MixCult Records

Odlazak – the third full-length from multidisciplinary artist and musician Ivan Masic as Ex Ponto – takes its name from the Serbian word for departure. It’s a theme that reverberates throughout the release as the motifs of departure, arrival and the journey between the two are woven into an intimate personal narrative from 1980s Yugoslavia to contemporary suburban Coburg and back. Odzalak feels like a bookend to a decade of concerted, illuminating visits to the place of his birth and a countenance to the departure that long defined his youth.

Alongside Ex Ponto’s signature mix of electronic and organic textures, Masic has interspersed moments of exchange from his homeland. The haunting sound of the gusle — a traditional Serbian instrument played by his ancestors — opens the album, alongside 40-year-old VHS recordings of family members reflecting on life and death. The cover was designed by long-time friend Rick Milovanovic (TRiC), whilst photographs from Masic’s visits to Serbia and Bosnia-Herzegovina by his wife, photographer Sarah Pannell, are featured on the inner sleeve. The release was mastered and partially mixed by Belgrade-based Goran Simonoski (La Plant), a collaboration rooted in shared lineage and a mutual love of the darker edges of the sonic spectrum.

Taking cues from ambient to kosmiche, dub to post punk and everything in between, this is a sonic journey as much as it’s a personal one. Part Balkan Bladerunner soundtrack, part Vini Reilly in wonderland, Odzalak is Ex Ponto’s most pointed and heady release to date, equally at ease in the club and at home.

Hang on, fasten your seatbelt we are taking the fast lane to unexpected adventures. Vitesse maximale.

Reptile Mob is proud to present 'Lost N Found' EP opening the vault to a long-awaited archive collection of unheard garage house tracks from Darlington-born and London-based producer Highrise. Unearthed from old hard drives, this EP captures a raw, unfiltered moment in UK garage, true to its name. Highrise is the alias of Dinn Warde, a name jungle heads know well as Dwarde. While he's been making increasingly large splashes on the jungle scene, his garage output as Highrise on labels like Practical Rhythms, Vibesey Records, Shuffle & Swing, and Fresh Milk Records has been equally on-point. Lost no more, found at last. The 'Lost N Found' EP is yours to discover.

Acitone, Andy Kneale ‘The Reflections’ EP
Reflecting the shared musical vision of both artists, *Reflections EP* is rooted in melodic and progressive
influences while paying subtle homage to Detroit's enduring legacy and deep, spatial electronic music.
The release is accompanied by a strictly limited run of 160 coloured vinyl copies, each including a unique
collector's insert featuring a tongue-in-cheek pre-club grooming guide, alongside a custom Fourier Transform
branded bamboo comb, making this a standout package for collectors and DJs alike.

Mad Corporation launches its first vinyl release with Mad Corporation Series Vol. 1, a Various Artists EP introducing the label's vision through four original cuts.
Built for the dancefloor, MCS001 explores different moments of a DJ set, from deeper and hypnotic grooves to more driving club energy, while staying true to the label's underground identity.
Featuring original productions by Lucien & Catriel, Posada & Das Man, Misla & Jose Vera and DJOAN, the release brings together artists under a shared vision of timeless electronic music..

With great joy, we are happy to present to you our next release, celebrating the milestone of reaching 40 vinyl releases.

"From Vision To Reality" will not be a simple release, but a collection of 13 tracks produced by 13 different artists, divided across 3 discs. The selection of tracks will be a mix of up-and-coming artists, established ones, and dear friends, many of whom are making their first appearance on the label.

Opening and closing the compilation are the first two hip-hop instrumental tracks ever released on the label, by Chester Watson and Dean Denali.

In between is a selection of different styles, ranging from melodic Broken Beat and Ambient to Electro, passing through Acid Techno and Goa Trance, featuring artists such as Josh Abrahams (from FSOM), Wedding Acid Group, Sohrab, ADSR, Enrica Falqui, and Parand, to name a few.

A special triple gatefold sleeve has been carefully designed, including printed pictures on the inside that show memories from our journey. Starting from the very early days in London in 2012, they bring back special moments shared with people and friends, or simply, for those who were not there, offer a chance to learn more about our history.

A 30 × 60 cm poster will be included, printed on both sides. The full artwork of the release will appear on one side, while the other will feature pictures of the 13 artists along with their biographies.

Limited to only 350 copies worldwide.

2026 Repress

For our 7th original release we welcome our good friend David Agrella, alongside Kompo on remix duties.

David’s a producer with a fast growing reputation and a label of his own, Agrellomatica. The label’s gathered support from a number of respected DJ’s such as Jane Fitz, Laurent Garnier, Ivan Smagghe, Francesco Farfa, Enzo Siragusa, Moxie, Ciel, Massimiliano Pagliara and we’re pleased to welcome him on Seven Hills.

The Kom Dansen EP is one of David’s darker EP’s, blending together thick growling basslines and atmospheric, psychedelic samples. 4 tracks made purely for the dancefloor, all driven by a phat 909 kick, this is music for late night sessions.

Deseo drives through twists and turns with a grooving bass, precise funky drum patterns, and a vocal recorded by the man himself. Kom Dansen hits you with a huge belly bassline, while taking you on a trip on the night train, deep into the wormhole, with an ever building momentum.

Sabotage Signals is similarly growling and deep, with spooked out synth sounds, and unsettling pad action, while Kompo’s version strips everything back, and

OLC003 brings another slice of late-90s South London tech house back into circulation, with a repress of Swag Records SWAG003 now brought home to the Online Collective catalogue.

“Takedown” from Dave Ivy opens with a distinctly 90s feel, built around analogue synths, punchy drums and processed movie vocals. Raw, driving and full of character, it’s a proper snapshot of the era.

“Diversion” sees Rob Pearson and Lee Humphreys developing their early collaborative sound, with lush Detroit-tinged chords, analogue drum rhythms and plenty of subtle detail. Even the slightly wonky vinyl noise was recorded by Rob and Lee themselves while miking up a wobbling record — a small touch that sums up the hands-on approach behind the track.

On “Checkout” Rob & Lee head into deeper and slightly cheekier territory, with a few familiar voices from a particularly strange night south of the border weaving through analogue hardware textures, resonant sounds and deep bass. A stripped-back late-night groove with plenty of attitude.

Three tracks from a very particular moment in UK tech house history now back with the original artists on Online Collective.

It is with much pride we present the seventh record on our in-house Palace Trax
label produced by none other than Troy Anderson aka Cityboy.
Troy is known amongst the discerning techno collector for his boundary-pushing 90s
releases on US label, 1200 Music and in recent times under his DFD moniker on
labels such as Down Low and We’re Going Deep.

Impeccable production and musicality is evident across the record. Tight percussion,
searing synth leads and well-tempered acid lines meld together into rolling techno
and electro. Each track ebbs and flows through moments of hypnotising rhythm and
pockets of bliss.

Troy got in contact with us off the back of PT006 (Joe DeWaal) and with Joe having
been inspired by Troy’s music while making the record, it seemed a synchronicity we
couldn’t ignore. We’ve all big fans of Troy’s music and thus the wheels were set in
motion for the seventh instalment on Palace Trax.

A note from Troy:
‘So the name "Cityboy" is actually a slang term used here in Texas by someone that
lives out in the country that makes fun of someone that lives in the city. These
country folk often say things like "Listen here cityboy, you might have been born at
night, but not last night" or something stupid shit like that. It's an inside joke
between me and Gerard Hansen). Since you are going with the Cityboy moniker we
should make use of that saying.’

Unusual Traxx welcomes Young Adults, the Dutch duo who have been making their mark in the underground scene with standout releases on Mood Waves, Private Parts, Seven Hills, and more.

Their four-track EP is a powerful showcase of groove and sound design, built around solid basslines, otherworldly synths, and some of the strangest vocals you are likely to hear. Each track is designed for a different moment of the night, taking you deeper into dark, sweaty rooms where anything can happen.

Pressed on limited edition vinyl, with only 200 copies available. Once they’re gone, they’re gone.

The long-awaited new vinyl release from Daniel Broesecke features three original tracks and one remix by Ki.Mi., delivering a technically precise and energetic deep-tech statement. Built for the club yet flexible enough for any moment in a set, the record balances drive, groove, and atmosphere with confidence. Side A focuses on modern, immersive deep-tech — forward-moving, hypnotic, and immediately engaging. Side B explores broken rhythms, controlled tension, and deeper movement, closing with a distinctive reinterpretation by Ki.Mi. that adds a new perspective while preserving the core energy of the release. VAM13 isn’t just another vinyl — it’s a focused, cohesive label gem with a strong signature sound. A reliable companion for DJs and a powerful addition to the Afterme catalogue.

Straight from Girona, Roto lands on SPHERART Records with Sardaukar, five cuts of stripped-back electro. Dry drums, heavy basslines and raw machine funk run across the record, from broken grooves to colder, more introspective moments. Direct, restless and full of character, Sardauka carries Roto’s own language from start to finish.

An exciting announcement - The Return Of Cosmic Ritual by Joaquin Joe Claussell.

The Return of Cosmic Ritual

Kanita- Forgiveness is a Beautiful Thing Featuring a Cosmic Tribute to Nujabes

Cosmic Ritual, the early recording alias of Joaquin Joe Claussell, emerged during the formative years of his journey-with at the time the young and visionary Spiritual Life Music label. From those beginnings came For The Loft in You, a composition whose atmospheric language would travel far beyond its original moment-helping shape a sonic vocabulary that continues to resonate throughout the deeper realms of contemporary dance music.

Its influence can still be felt today: in the spaces between rhythm and silence, in the textures of deep house, ambient soul, spiritual jazz, and in productions created by artists who continue to explore the unseen dimensions of sound.

Now, after its long journey through the cosmos, Cosmic Ritual returns.

At the heart of this new chapter is “Kanita (Forgiveness Is a Beautiful Thing)”, a composition that journeys even further inward-toward the more atmospheric, introspective, and soundscape-oriented side of Joaquin Joe Claussell’s musical spirit.

It is music for the inner traveler.

And as another celestial passage, the release also offers a special Cosmic Tribute to Nujabes Titled "Heaven", Nujabes is a deeply admired artist whose work transcended boundaries and whose musical spirit continues to inspire generations across cultures and continents-even after his untimely departure.

This tribute is more than an acknowledgment. It is a meeting of frequencies, a quiet conversation between kindred spirits who understood that music could exist beyond genre, beyond geography, and beyond the limitations of ordinary perception.
And Finally " Myths Across Tribes " A Trance Dance Percussion number that takes the listener into the jungles of Africa.

As with all of Joaquin Joe Claussell’s work, The Return of Cosmic Ritual l invites the listener to go deeper.

For those who seek mind travel.
For those who listen between the notes.
For those drawn toward cosmic ambience, spiritual resonance, and the deeper dimensions of sound.

Two decades after its original release, Herbert Boese’s “Charger“ / „Hypnotoad” returns to vinyl.

Originally released as the second record on Jaktronik, the label Herbert Boese ran together with Marc Romboy, the two-tracker captures a very particular moment in German electronic music: stripped back, physical and functional, yet deeply rooted in the sound of Detroit.

At the time Boese was a resident DJ at Düsseldorf’s legendary Harpune club and one of the people shaping the city’s underground electronic music scene. His Jaktronik productions became an extension of that world, music made by a DJ, for the dancefloor.

“Charger” was an immediate standout. Marc Romboy selected the record for his chart at the time, describing its combination of heavy bass and Detroit-influenced strings as a track that made dancefloors scream.

On the flip, “Hypnotoad” goes deeper and more hypnotic: reduced, trippy and relentlessly effective, built around repetition, tension and groove.

Twenty years later, neither track sounds like a museum piece. Quite the opposite. In a time when a new generation is rediscovering the raw, minimal and machine-driven sound of the mid-2000s, “Charger“ / „Hypnotoad” feels remarkably current again.

The original tracks, remastered and finally back on vinyl.

Collecting orders for repress

If there is one thing that WAX RDM loves to do, it is split, they love splitting bills, middle splits, banana splits and most of all a good old split EP, and they made sure to deliver on their first one. Not only is he responsible for saving the Netherlands from becoming an aquatic civilisation, the land creature known as Deltaplan also claimed the whole A side for his boombastic electrofied vinyl only rendition of Sexual Seduction, which could get any dance floor drenched in dripping sweat. The Hague city's APK Boys have split the split in 2 on side B. If Flipper was a fun loving dolphin who always dreamt of moving to The Hague City, this is what he would sound like, hard hitting, just a tad frustrated and ready to snap at any moment. Yes Yes finishes of the split with a sure-shot Electro heater which will take your mind into a dreamlike state, thinking of ways to make Flippers dreams come true. And if you think things couldn't get any better, APK provided us with a 3rd digital only track for good measure. Stay dry and keep swimming.

The mission is complete.
With the landing behind him, the astronaut begins spreading the sound of Planet Tapes across the planet.
What was once a distant destination is now alive with sound, light and movement. The music starts to travel, bringing different identities, energies and visions together on the same frequency.
Signals of Unity captures this exact moment: four artists, four different messages, one shared destination.

A1 – Mirko Felicioli – Sin City
Mirko Felicioli opens the record with a strong and distinctive statement, built around tension, groove and a sharp sense of movement.
A2 – Mathi – Starship
Mathis continues the transmission with Starship, a cut suspended between movement, imagination and futuristic drive.
B1 – Two Opposites – Tormento
The label captains return with Tormento, combining energy and emotion in a track built for movement, while keeping their unmistakable approach to electronic music.
B2 – Ginno – Void
Gianko closes the record with Void, a deep and evocative final passage that lets the signal drift beyond the dancefloor.

Four artists. Four signals. One planet.
The music has spread.
The people have gathered.
The party has begun.

PT.007 – Signals of Unity

Man of the moment Tino makes a big splash landing on M.A.D Records.

Fun, playful and deadly this EP has it all and without a doubt our most requested ID’s every time we play. A 4 tracker of tried and tested weapons already picking up huge support from the likes of Eris Drew, Dr Banana and Moxie.

Slump Recordings returns with a four-track EP from recent label alumni eira haul. Of Paradise moves between sleek late-night rollers, pumping percussion and smoother after-hours moments. With previous releases on Limousine Dream, R.A.N.D. Music and more, eira haul delivers yet another mature house record that fuels itself from nostalgia whilst sounding like nothing else.

The oddjob concept was conceived on a mountain top at a festival with friends . The artist is unknown, the tracks are made for moments at festivals and open air gatherings rather then club environments. Tech house with a twist

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

PLAYED BY SVEN VÄTH

2026 Repress

This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.

Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.

Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.

In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.

Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.

'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'

Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.

Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.


The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.


‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.

Warm chords, subtle groove pressure and a spacious late-night feel. This is heady, functional and quietly expressive club music, refined in detail, reduced in form, and made for deep hours rather than obvious moments. A tasteful and immersive release with real depth. With UKR059, Eva Lansberg delivers a deeply atmospheric and elegantly reduced four-tracker for Ultra Knites Records.

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The vinyl sounds like it means business.

The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster serves the synth work well, keeping the melodic lines clear and the low end present without overcrowding the mix. Zentz built something durable here, and the vinyl pressing confirms it.

Sound Whore by DJ Mes follows, and Mes doesn’t waste any time. The wah-wah guitar arrives early, the trumpet not far behind, and then the Latin percussion and vocal samples start stacking up. It’s a lot, but Mes holds it together with a groove that keeps pulling everything back toward center. You don’t resist it. You just follow.

The B-side belongs to the most requested track in the label’s catalog, and it’s easy to understand why. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and then opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a particular gift for this, the ability to make a moment feel like it could last forever without ever losing tension. Ramirez’s own keyboard solo survives toward the end, a subtle crescendo that feels earned. Dunster captures the whole thing with care.

It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Nothing complicated about it, and that’s the point.

Play it loud.

Track A1 written and produced by Maziar Namvar and Joshua Collins. Remixed by Bryan Zentz.
Track A2 written and produced by Jason Sutton.
Track B1 written and produced by Cesar Ramirez. Remixed by Mike Huckaby.
Track B2 written and produced by Gabriel Palomo & Geto Mark.
Mastered by Lawrie Dunster at Curve Pusher, UK.
Copyright Control
2026 Fresh Meat Records

Shorter Version

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster keeps the melodic lines clear and the low end present. Zentz built something durable here, and the vinyl confirms it. Sound Whore by DJ Mes follows. The wah-wah guitar arrives early, the trumpet not far behind, then Latin percussion and vocal samples start stacking up. Mes holds it together with a groove that keeps pulling everything back toward center. You just follow. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a gift for making a moment feel like it could last forever without losing tension. Ramirez’s keyboard solo survives toward the end, a subtle crescendo that feels earned. It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Play it loud.

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

LOKLTD007 proudly brings you GUDJ, a rising talent from the UK minimal electronic scene. With Andromeda EP, the British producer delivers four sophisticated tracks that blend hypnotic grooves, futuristic sound design, and cinematic atmospheres.

From the mesmerizing energy of “Andromeda” to the dreamlike textures of “Mirage”, and the driving momentum of “Orza” and “Bravora”, each track unfolds as a chapter in a cosmic journey. A refined and immersive release that showcases GUDJ's unique artistic vision and his growing presence within the international minimal scene.

The dream team of Sugar Minott and Victor Axelrod returns with a deep rub-a-dub reggae take on The Notation’s low rider classic, “I’m Still Here”. Shortly after falling in love with the song via a 45 mix from Gabe Roth, Axelrod received a serendipitous message from the late great Minott saying he was in town and ready to work.

Sugar's effortlessly soulful vocals coupled with Axelrod and Co's sweet and spacious groove, transform the Notation's track into a slow , sticky revelation of love that's actually stable. The perfect soundtrack for discerning soirees and those moments where you have one foot out the door but need a moment of reflection.

Bosconi Records returns with Tangled Waves Vol. 2, the second chapter of the series—this time expanding the concept into a four-artist VA, diving deep into progressive house and neo-trance territories while keeping that unmistakable timeless, old-school spirit alive.
Like shifting currents moving in parallel, Tangled Waves Vol. 2 brings together different voices, each following their own path while converging in the same flow—crafted for longevity, built for the dancefloor.

The EP opens with Fly High by DJ Glc, founder of Digging Deeper records and already known to the label through his contribution to the Home Cooked Beats compilation. Here he delivers an epic italo-infused progressive cut, driven by a classic rolling bassline and lifted by a futuristic arpeggio that bridges past and present. Hypnotic, warm, and undeniably effective—pure late-night material.
Next up is Strange Gift by rising artist Little Sea, founder of Sea Horse Records. A high-energy progressive groover with a clear nod to ‘90s classics, the track blends a punchy forward-moving bassline with bright melodic flashes and a sensual female vocal in the breakdown—making it a proper peaktime weapon with emotional depth.
On the flip side, Matteo Guarnieri (aka Rare Happiness) makes his Bosconi debut following a standout release on Kulture Galerie. His track Roller Disco Truck merges old and new with ease—leaning into a tech house framework with a distinct groove, textured stabs, and a subtle arpeggio that adds a psychedelic edge. A playful yet driving cut with strong character.
Closing the EP is Stargazing by Andrea Mera, also debuting on the label. A soft, mesmerizing progressive journey, the track unfolds with lush pads, a fluid atmosphere, and a gently evolving energy. With its warm 303 touches and emotional depth, it feels like a timeless closing moment—introspective, romantic, and built for those final hours on the floor.
With Tangled Waves Vol. 2, Bosconi introduces a new wave of artists while staying true to its roots—delivering four carefully crafted cuts that balance nostalgia and forward motion. Another essential addition for the bag, made to last.

For thirty years, Alden Tyrell has been at the forefront of electronic music. This analogue alchemist has concocted heady grooves that transmute genres: acid, disco, electro, house, italo and techno; no style left unturned. Under his Tyrell Corporation moniker, he returns to the Bordello with a sound forged for dancefloors. Midnight Machines is a warm embrace that melts electro‑disco with star‑gazing synthlines. “Midnight Machines Pt. 1” balances robust melodies and incising snares with soulful undercurrents and joyous breaks. Past energies are re‑channelled. Arpeggiators rumble as beats throb. Beneath it all, there is a greater consideration of the interplay of elements.

This focus pulsates through speaker cones on the needle‑drop of “Love in Decay.” Elated key changes and bright shifts are tempered by bittersweet moments, early‑morning light piercing fresh mists of grey. Tempos rise on the flip with “Midnight Machines Pt. 2.” Sci‑fi‑scored disco lifts ever higher as scaling notes untether themselves from the floor and soar above vibrant rhythms. Coy and alluring, the bright “Romance Obscura” closes the record. Cowbells and bending wavelengths open into an expansive, intoxicating melody where keys search the horizon as arms fold around celestial bodies.

Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work.
Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve.
Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno. Opening track, Ascent, traverses the space between ambient and techno; second track City Of Luz almost fades into itself across its twelve minutes before Transmutation brings around a reawakening with a beat that would not have sounded out of place on an early Rephlex or even a Sähko release. Final track on the 12”, Growth Cycle is fittingly a re-version/re-vision of a track on the Existenz LP; Robert Owens’ soulful vocal now Stefanie Parnow's floating Siren-like voice with music that feels reborn: fresh, strong and insistent. The digital pack contains two further tracks, the deep electro of November 29, as well as Rubedo, a spacial ambient track that feels like the final glowing red embers of a fire turning to ash as the sun rises to reveal a new, golden dawn.
Aeternum (Existenz) is the final chapter of the soundtrack to Function’s spiritual awakening, the closing of a door and the clearing of a path. It’s a sonic manifestation of the Magnum Opus completed, a moment of total integration, where the leaden weight of the journey is finally perfected into the incorruptible gold of the spirit.
It is dedicated to John Mendez, aka Silent Servant, Sumner’s dear friend and lifelong collaborator.

A deliberate sonic and emotional architecture that doubles down on intensity to shatter and rebuild the listener in one unrelenting wave.

Third album from System Olympia, following acclaimed releases like New Erotica Collection LP (2023) and Delta Of Venus LP (2020), solidifying her as a bold, self-produced voice in electronic and italo-disco-inspired music.
Releases on Okay Nature Records (her own independent label), with digital out now (March 6, 2026) via Bandcamp/Spotify and limited-edition black vinyl 12" LP shipping from April 6, 2026-fully written, recorded, produced, and mastered by System Olympia herself.
Extended tour in the months ahead, kicking off with confirmed live events including a Double Climax Listening Party, plus performances at The Cause (60 Dock Road, Outside) in London on April 3, 2026, and Burgess Park in London on August 2, 2026-expect further dates to build momentum through spring/summer 2026.

For our fourth release, we welcome Flits alongside For You founder Line-o.

Flits takes the A-side with two highly effective techno tools. Visionair cuts straight through with gritty textures, crunchy hats, and a driving groove. Kensington follows, tight and punchy, built to hit right.

Line-o returns on the B-side. Liminal opens deep and forward, driven by a steady momentum that locks you into its flow from the start. Fragments shifts into a more percussive direction, rolling and groove-led, rooted in the stripped-back rhythm Line-o is known for.

Yellow Vinyl Repress

On his debut Feelin’, Ivory marries hi-tech sound design with the emotional pull of house for a collection of tracks shaped by a multitude of club music and R&B.

“Feelin’” is a dancefloor slammer, a healthy balance of tension and release that comes with an invite to conquer the floor. Followed by “I Need You Now”; a hulking warehouse cut built from barrelling, muscular kicks and a diced up diva house-esque vocal.

“Try” pulls the crowd back into room one for a huge, anthemic floor-filler underpinned by jagged synths. Ivory describes “Don’t Lose Control” as “one of the more emotional moments of the Record”; a track centered around dreamy pads, smooth house synth stabs and a disembodied post-human voice that sounds eerily poetic.

ABOUT PHONE ME TONIGHT

Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.

For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.

This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.

ABOUT LOBE MON AMI

Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.

The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.

ABOUT EKO ROOSEVELT

Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.

Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.

Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.

In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.

Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.

Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.