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And the Glass Handed Kites is the fourth album by Danish quartet Mew and marked a highlight in their career. It has won several music prizes in Denmark, including four Danish Music Awards. Gaffa named And the Glass Handed Kites the best Danish album of 2005. Mew also won the 2005 MTV Europe Music Award for Best Danish Act. Pitchfork Media ranked the single "The Zookeeper's Boy" #92 on its list of top 100 tracks of 2006.

This reissue is the expanded edition on vinyl containing 10 bonus tracks, including the Mogwai remix of “Why Are You Looking Grave”, “Dark Design (red version)”, “Animals Of Many Kinds”, the unreleased song “Wherefore Are You Not There”, and many more.

And the Glass Handed Kites is available as a limited edition of 1500 individually numbered copies on white vinyl and includes a 12-page booklet.

Four track deep and dub leaning house record from Tom Ellis, built for groove over drama. Tom Ellis, four cuts, house built from the low end up. Daily Red Cocktail, loose kick, chords buried in reverb. Tram 28 next, steadier, more direct, a track for the middle of a set rather than the top. Pink Street Morning goes dubwise, echoes stretched out over a thin bassline. She Broke My Bongo shuts it down with live sounding percussion, no filler. Straightforward deep house record, nothing flashy, does its job on a proper system. Solid.

Great release. Three moods: tight original, tougher remix, softer terrace cut. Bartolomeo returns with Lourene on vocals. Narcotico EP, three takes on one hook. Original mix, tight low end, sparse percussion, vocal doing the work. Cesar Merveille remix, tougher, more tech house, hats sharpened, bassline rolling. Cali Lanauze Terrace Mix, softer pads, looser pulse, built for outdoor sets.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

In 1970, at the invitation of Sérgio Mendes, Brazilian songwriter Edu Lobo travelled to Los Angeles to record for A&M Records. During this period, he also recorded his masterpiece, Cantiga de Longe, reissued by Week-End Records in September 2026. More than half a century later, Lobo’s music continues to inspire new generations of artists—including Sergio Sayeg, better known as Sessa.

With his intimate, quietly captivating songwriting, Sessa brings the spirit of Brazil’s golden era of MPB into the present. His deep affection for Lobo’s music made him a natural choice for this collaboration: we invited him to reinterpret “Zanzibar,” one of the album’s standout tracks, in his own unmistakable style.

A meeting of two generations, connected by a shared musical sensibility—available in a strictly limited physical edition of just 500 copies.

Kampana brings to you two more reworks from Aroop Roy's legendary DJ Weapons series, on 7" for the first time. 'Visions' gives a disco lift to an obscure, but anthemic soul cut , with stunning vocals and classic sound.
'High Riding' is a funky rework that chops and splices the original sample into an infectious jazzy disco groove, building into an epic climax.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

From our brother and close friend of the label, Omar Fayyad, comes Perpetual State EP, his first solo EP on vinyl Three personal tracks that unlock previously unfathomable levels of deepness.

Music for late nights and early mornings.

Trunk Records was started 30 years ago. It quickly established itself as a unique and highly influential label finding the unfound, the unthinkable and the forgotten sounds of the past. Here we celebrate 30 years of the label, by issuing amazing music it has not released yet. Of course we do.

Trunk Records began in 1996. It was the first label to issue non commercial library music to the public. It was the first label to chase, find and issue The Wicker Man soundtrack, the first to issue the sounds of computer keyboards and even announcements from train buffet cars.
Movements like “Hauntology” and “Folk Horror” all began thanks to the music issued by Trunk Records. And here we are, 30 years on, and we think it is time for a 30 years anniversary LP.
Unlike the 25th anniversary double LP, we are not issuing music we have issued before. Instead, here we are issuing music we have not issued before. What better way to sum up such an important and unique label better than continuing where we first began.

Tracks include some unreleased Roger Webb slow sex disco, scatty breakbeat library, psychedelics from Gabo Szabo’s backing group (The Advancement), groovy jazz from Pittsburg (The Silhouettes), Basil Kirchin’s unreleased electronic experimental thing (it is very much “a thing”). Some outsider singing from a hippie who lived in Drop City, a flexi disc selling you the Milton Keynes shopping centre and of course some improvised jazz for children’s dance workshops. And more too. And all on one LP.

‘Blood Spilled’ - the latest single from Blonde
Redhead - pairs cascading guitars, relentless
rhythms and one of vocalist, multi-instrumentalist
and songwriter Kazu Makino’s most explosive
vocal performances, with an exploration of
mortality, grief and the enduring bond between
body and soul.
The song surges with ecstatic intensity as Kazu
lingers on “each and every cell” and the urge to
“sing and scream just to hear myself,” transforming
these moments into affirmations of the beauty,
vulnerability and freedom of physical existence.
Suspended between the earthly and the ethereal,
the track finds transcendence, not by escaping the
body, but by fully inhabiting it, turning profound
loss into a fierce celebration of being alive

2020 debut EP from Pain of Truth.
Five tracks that demonstrate what Pain of Truth
are about.
Featuring guest vocals from King Nine, Billy Cub
Sandwich, Life’s Question and more.
Pressed onto Mint Green with Blue and White
Splatter vinyl.

"Synth revival from the mid-aughts gave us fractured sub-genre upon fractured sub-genre, outlets for noise-leaning basement dwellers to finally dance like dad said they couldn’t, and commercially-viable nostalgia drivel that eventually poisoned the well. Luckily, for all of us, Ryan Martin and his sincerity cut through all of it.

Secret Boyfriend, the monumental and ongoing undertaking of Martin, has spanned labels, media, and DIY line-ups for more than a decade. Whenever Ryan comes up in conversation I am sure to bring up his home in North Carolina and how it is a testament to his commitment to media and artistic ethos having a place in the world. The walls and rooms are thoroughly covered in drawings, flyer ideas, cassette collections, VHS in heaps and piles, instruments that seem like they are still warm as if they were just played then sat down. Martin and his home act as a means to unbridled expression without the need to fill a gap in a mostly saturated world.

Ein gesuchtes Stück britischer Rockgeschichte erstmals wieder auf Vinyl!
“Barbed Wire Sandwich”, das einzige Album der Black Cat Bones, ist ein Kultklassiker des britischen
Heavy Blues, jetzt in den Abbey Road Studios von den originalen Stereo-Analogbändern gemastert und
auf 180-g-Vinyl gepresst. Mit neuen Linernotes von Richard Morton Jack, einem ausgewiesenen Experten
für die Rockmusik der 60er und 70er Jahre. Das Album erschien ursprünglich 1970 in Deccas kurzlebiger
Nova-Serie und entwickelte sich über die Jahre zum begehrten Sammlerstück.
Mit seinem kraftvollen, gitarrengetriebenen Mix aus elektrischem Blues, Hard Rock und psychedelischen
Einflüssen dokumentiert es den Übergang vom britischen Bluesboom zum Heavy Rock der frühen 70er.
Paul Kossoff und Simon Kirke spielten bei Black Cat Bones, bevor sie Free gründeten; Gitarrist Rod Price
wurde später Mitglied von Foghat, während sich Black Cat Bones schließlich zur Kultformation Leaf Hound
weiterentwickelten.

Mit „Dippin’“ erscheint ein Höhepunkt aus Hank Mobleys herausragender Schaffensphase Mitte der 1960erJahre in der Blue Note Tone Poet Serie. Für die 1965 entstandenen Aufnahmen versammelte der Tenorsaxofonist ein erstklassiges Quintett mit Lee Morgan an der Trompete, Harold Mabern Jr. am Piano, Larry
Ridley am Bass und Billy Higgins am Schlagzeug. Die sechs Stücke zeigen Mobleys enorme Bandbreite
und reichen von Boogaloo und Bossa Nova über Balladen bis zu packendem Hard Bop. Zu den Höhepunkten zählen der funky Opener „The Dip“, das treibende, modal gefärbte „The Vamp“, das brasilianisch
inspirierte „Recado Bossa Nova“ und die wunderschöne Ballade „I See Your Face Before Me“. Ein ebenso
vielseitiger wie unmittelbar zugänglicher Blue-Note-Klassiker aus Mobleys Glanzzeit.

DJ Support: Marco Carola, Jamie Jones, Joseph Capriati, Ilario Alicante, Bradley Zero, Carista, Josh Baker, Saoirse, Djebali, Archie Hamilton, John Dimas, rich NXT and many more

Kepler’s sound sits somewhere between deep house, garage swing and low-slung club pressure. Based in Leeds, he has developed a sound built around weighty basslines, rolling drums and an instinct for keeping ideas sounding fresh. Releases on Up The Stuss, Semi Delicious, Constant Sound and Rossi’s HOME//GRXWN. have helped establish and elevate that approach, with support from selectors including Ben UFO, Raresh, Chris Stassy, Four Tet and Interplanetary Criminal. Alongside his own productions, plus his labels Contact Music and Perspective, his Studio Orbit has grown into an online production community supporting thousands of artists, and he now returns to FUSE after his appearance alongside founder Enzo Siragusa in 2024 as part of the label’s X Series for his first solo release on the imprint.

His ‘Sunday Service’ EP brings four original cuts to digital and vinyl, moving between different shades of his UK-influenced, wide-spanning sound. ‘Inner Motion’ opens with a cosmic groove, sweeping melodies and tightly placed percussion, while ‘Jump Up Crew’, featuring MC Secret Agent, pushes into garage territory with an animated vocal presence and heavy low-end weight. On the B-side, ‘Unity’ settles into a deep, fluid rhythm that packs a punch before title track ‘Sunday Service’ journeys through hazy textures and shuffling drums for a late-night finish.

Mit "Devagar Que A Vida E Curta" präsentiert Ana Lua Caiano ihr zweites Album und führt die außergewöhnliche Verbindung aus portugiesischer Folklore, Elektronik und experimentellem Songwriting konsequent weiter. Ausgehend von einem alten Rat ihres Großvaters reflektiert die Künstlerin die Spannungen zwischen Beschleunigung und Achtsamkeit, Vergänglichkeit und Gegenwart. Traditionelle Instrumente wie Dudelsack, Flöten, Adufe und Bombo treffen auf Synthesizer, präparierte Klangobjekte und Alltagsgeräusche, die zu rhythmischen Elementen werden. Die vielschichtigen Gesangsarrangements stehen dabei im Zentrum eines Sounds, der folkloristische Wurzeln mit zeitgenössischer Produktion verknüpft. Inhaltlich kreisen die Songs um Isolation, Routine, Erschöpfung und Wandel, während die Musik zwischen Intimität und eruptiver Energie oszilliert. Mit diesem Album festigt Ana Lua Caiano ihre Position als eine der spannendsten neuen Stimmen der europäischen Musikszene.

It was through the first volume of the Musique Ambiante Française compilations that we met the hermit Dagerlöff. From a sanatorium and the depths of his own entrails, he delivered the aptly named From The Womb To The Tomb, which you may remember. Out of that dark period came a spark: the fleeting vision of a little girl running happily through a public garden struck Dagerlöff like a trigger. An urge to live, a visceral need for rebirth. From this epiphany came a vibrant ode to childhood and a return to innocence.

To give flesh to that vision, the artist withdrew from the world once more and, pushing his creativity to its limit, set out to recreate the sonic cocoon of his own youth. This debut album, “Solarpunk”, resurrects the magic of the Amblin productions (E.T., Gremlins, The Goonies, Young Sherlock Holmes…) where digital synth arpeggios embraced the warmth of orchestras, while summoning the epic energy of Japanese cartoon theme songs and the luminous aesthetic of Nintendo consoles.

Matu Miranda has grown up in a state of constant movement. Changing homes, cities, schools, and horizons has shaped his worldview and fueled a body of work deeply informed by themes of displacement, transformation, and belonging. With APUAMA, his second album, the Brazilian singer, songwriter, and guitarist delivers his most personal work to date:a collection of songs exploring how we each construct our own sense of home through the encounters, departures, and returns that mark our lives. Driven by sensitive songwriting and organic production, APUAMA navigates a landscape of contemporary MPB, tropical folk, popular poetry, and Brazilian acoustic influences. From one song to the next, Matu charts an intimate journey where saudade is never synonymous with stagnation; instead,it becomes a driving forcethat compels him to move forward, discover, and forge connections. From the radiant landscapes of "E Bom Voltar" to the existential inquiries of "O Que Sera de Nos"-and the poetic manifesto of the title track, "Apuama"-the album tells the story of an artist learning to turn every place he visits into a form of home. The album also features notable collaborations with two of the most distinctive voices on the new Brazilian music scene.Singer-songwriter Josyaralends her sensitivity to "Ceu Azulzin," while Chico Chico joins Matu on "Estetica da Fome," a track inspired by major Brazilian cultural and social reflections. These collaborations extend the collective spirit that runs through the entire record and highlight Matu Miranda's ongoing dialogue with his artistic generation. The sound production was helmed by Leo Marques-a producer, sound engineer, and musician recognized as a key figure in Brazil's independent music scene. Marques notably won a Latin Grammy Award for his work on the album Sim Sim Sim by the group Bala Desejo, one of the most significant Brazilian records of recent years. This approach gives APUAMA a warm, vibrant, and timeless sound, allowing the songs to breathe and highlighting the richness of the acoustic arrangements. More than just a collection of songs, APUAMA is a journal of an inner journey. It is an album that speaks of movement, memory, nature, and the passing on of things-reminding us that, beyond borders, distances, and absences, there is always a place where one can feel at home.

Some music travels well. Some takes its time. And some spends a few years underwater before deciding to come back up.
Such is the case with Ksky, Saint Petersburg native, DJ, synth enthusiast and the man behind Underwater Tales. Originally released into the world with little fanfare, these tales have been keeping a rather low profile ever since. Not quite forgotten, not exactly missing, just minding their own business somewhere below the surface. Time for a little fresh air.
Now resurfacing across two records, the collection brings together familiar faces, old acquaintances and a few unexpected arrivals. Previously released material rubs shoulders with additional tracks, including Gerd Janson's extended DJ mix of New Era. A small reunion of sorts, minus the awkward conversations.
Also along for the ride is Bad Philly. A deceptively simple piece of machinery with something strangely epic under the hood. No unnecessary detours, no lengthy explanations, just one breath, one story and a direct connection to the morning dancefloor. Sometimes the shortest route is the most scenic. Music for when the night has already happened, the sun is starting to ask questions and nobody seems particularly interested in going home.
Now together at last.

Sam Alfred marks his Technicolour debut with the
‘No More’ EP - five tracks of old school progressive
house, hard house and emotionally-charged
peaktime club music, led by title track ‘No More’
and featuring ‘Dreamers’, ‘Ascension’, ‘Precious
Love’ and ‘Connected By Light’, his collaboration
with Luuk van Dijk and Storm Mollison.
Pressed on 12” vinyl with artwork from longtime
collaborators Pointless Illustrations, the campaign
lands during a major live run across Europe, the
UK, North America and Australia, including
Parklife, Love Saves The Day, Circoloco Ibiza and
III Points Miami.
For fans of Barry Can’t Swim, Sammy Virji, Job
Jobse, DJ HEARTSTRING, salute, Kettama.
Sam Alfred is a London-based, Melbourne-raised
DJ / producer, born in Egypt with Sudanese
heritage, whose high-energy, emotionally-charged
club music has quickly built him into one of dance
music’s fastest-rising names. He writes and
produces every track on the EP himself, teaming
up with Luuk van Dijk and Storm Mollison for lead
collaboration ‘Connected By Light’

Follow-up to 2023's ‘Necromanteum’ and their first
release on Sumerian.
Supported by global touring, the legends of
modern deathcore have returned.
‘More Than Misery’ explores a world of destructive
love, war, death and inner torment that fights its
way back out. The album follows the
transformation of turning pain into power. Into
confronting the darkest parts of existence,
destroying the person you once were, and
emerging from the ash as something harder harder
to break.

London mainstays Half Baked push beyond a quarter of a century here with Romanian house favourite Dan Andrei debuting on the label. He offers the beautifully clean and serene ambient, minimal and tech fusion that is 'Orange Sunshine' - the sort of 5am gem that soundtracks deep immersion in an alternative world, complete with real beauty in the chords. Sticky' has a more pronounced rhythm and bubbly blend of rubbery drums and bass, while spacecraft-life synths circle the groove and neat melodic patterns unfold with a curious nature. London duo Brainsurfers aka Harry McCanna and Sam Bangura add more drive but keep things deep and crank up the cerebral details.

Black Box Records is back.

The label's seventh release is a five-track vinyl VA, a real coup de theatre. They've called upon a strong selection of artists behind the EP's artistic direction, including Alessio Collina , V.I.C.A.R.I. , Nicola Brusegan & Carlo Di Roma, Shacklo and the label's founder, Vito Fattore.


Black Box Records has proven once again that they are a company that produces classy, mature and dancefloor-ready house tracks, with many more to come this year.

If you're looking for some hi-fidelity techno that is about atmosphere and sound design as much as muscular rhythmic power, this one is for you as Standards & Practices returns with more thoughtful tackle across three EPs. Electro, half-time, dub and breaks are all chucked into the mixer here with Karim Maas opening with the unsettling emptiness of 'Positive Beliefs.' Stave & Grebenstein's 'Live Room' is a collage of texture and static with only the merest suggestion of rhythmic form, and Sandwell District offer a supple and deep techno vision on 'Le Coq Sportif.' Negative Affect's 'Sleep Walker' has menacing swagger to shut down a proper decent selection.

Frenchman Franck Roger seems to be in something of a purple patch right now, with a steady stream of succulent deep house vibes flowing from his studio, most often on Seasons Limited. 'In Motion' is a perfect set builder with its traditional deep house groove infused with whimsical melodies and a sprinkling of percussion that gets you ready for more. 'SH Time' is named after a choice piece of Roger's studio gear and swirls with lovely smeared pads, and '6th Track' closes with some persuasive swing and just the right amount of vocal heat. Early doors, late at night, outdoors in the sun, this is a useful EP for real house heads.

Ed Nine hails from the birthplace of house and brings plenty of Windy City magic to this EP on Spanish label MATE. It's deliciously emotive tackle drenched in meaningful pads and, in the case of opener 'Feel It In Your Soul', an aching vocal sample that really sets it alight as the organic drums jack down low. 'Free Acid' is a stomping workout with prickly 303 lines defining the peak time vibe, then 'Out Of Line' cuts back into a more sunny sound with synths rising up through the mix and bringing joy. Closer 'The Drum Tool 3' is just that - a raw jam to help you get the floor locked in while moving through the gears.

The Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.

Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.

52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.

Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.

Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.

The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.

Wayne Shorter stepped out as a Blue Note artist on his masterful 1964 label debut Night Dreamer, a sublime set that signalled the arrival of one of the most important saxophonists and composers in jazz history. Timeless Shorter compositions are given transcendent performances by a quintet with Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Quiet Village invites Eric Duncan AKA Dr Dunks for his latest EP ‘Plateau Alone’ featuring Zopelar. Dr Dunks is one half of DJ duo Rub-N-Tug.

New York music veteran Eric Duncan AKA Dr Dunks lands on Quiet Village with his latest release ‘Plateau Alone’ featuring Zopelar, dropping 18th September. Beginning his journey over three decades ago in New York's underground scene as one half of the duo ‘Rub-N-Tug’ alongside Thomas Bullock and one half of DFA’s ‘Still Going’, Duncan has built a reputation for his genre-defying music and sets, mixing disco, house, funk and electro. His production and remix catalogue over the years includes Grace Jones, Todd Terje, LCD Soundsystem, Groove Armada, and more. Producer and DJ ‘Zopelar’ hails from Brazil, taking inspiration from the Brazilian music scene and lacing it with jazz, soul, and house, with releases on Apron Records, Tartelet Records, Soul Clap Records, and Selva Discos

The ‘Plateau Alone’ EP comprises three funk-fuelled tracks. Syncopted electro synths fl ood opening track ‘Plateau Alone’ with an 80s-inspired groove, where bass melodies and textures create an otherworldly feel. Second track ‘Slow One Eleven’ slows the pace; percussion and strings featuring rock accents create a steady groove as Duncan adds his signature sonic sound. Low-down bass blends with dub-chords and alien textures in ‘88 Lights’, creating a warm and cosy closing to the EP.

We asked Velvet Velour for an album you can listen to while cooking dinner; maximising the available time on a 12” record. He reached for the sky and pulled down a generous serving of clouds. Downtempo on the A-side, house on the B-side.

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

We know there are copious amounts of PFAS in the water supply of Rotterdam, but there must be more! What else could explain the amount of talent this city provides? Foobar is yet another prime example of this phenomenon. coming of age in Burgundian Brabant and cultivated in the grimy streets of our beautiful harbour city, Foobar just has a way of looking beyond its imperfections and translating the warmer hidden sides of the city whilst still tapping into its more rugged edges in this 4 track EP, for his debut release "Shifting Phases" on WAXRDM. The title track Shifting Phases just eases you into the whole, getting you ready to face another day on the grind, that's Rotterdam baby! We work hard and we play hard, and when we play, these are the sounds we wanna play too. Proper House Music. Some serious anger management issues on Parallel Motion, hitting hard from the get go, starting off with some intimidating drums, in your face bass lines, enticing melodies & alluring vocals. All of a sudden you're 3 minutes in, and you can't even remember what got you so upset in the first place. Who said you needed to be loud to be powerful? Not us, that's for sure, and definitely not Foobar. Quiet Strength proves that point yet again, laced with the sultry vocals by ES-V, this jam just takes you even further into your own headspace, drums that keep you in motion, melodies that keep you grounded but bass lines that let you float off into the atmosphere. It's Monday again, another day at the office, cleaning apartments, trading cryptocurrencies or whatever the hell you do to make ends meet. Ahh damn, and now you remember what irritated you. Colleagues, employers, pay or the lack of it. It is a good thing you have Back on the grind to make it all sound relative, helping you forget and looking ahead at the weekend. The perfect come down track that moves forward.

With Shadows is the darkwave alter ego of Jordan Lieb, the acclaimed North American electronic producer also known as Black Light Smoke. Recognised for his house and techno releases on Scissor & Thread, The Hacker’s Zone and Tiga’s Turbo Recordings, Lieb explores a darker, more introspective sound under his With Shadows alias. Drawn from two digital releases on his own Ancient Spells imprint, this collection of electronic darkwave traces a journey in reverse: opening with dark Italo and EBM-inflected technopop, it gradually slows down, sinking into a shoegaze universe steeped in atmospheric melancholy. Cold synthesizers, basslines that pulse like a heartbeat and haunting vocals give way to blurred textures and dreamlike spaces, carrying the listener from the dancefloor into a more intimate inner world. On “There’s a Hole”, his instinct for rhythm meets a deeply personal voice, revealing the emotional weight beneath the electronics. With Shadows gives Lieb room to reach beyond club structures and express himself through songs, bringing his songwriting, vocals and multi-instrumental talents to the forefront and revealing a facet of his musical identity distinct from his work as Black Light Smoke.

RAWAX welcomes Funksonik to the artist Faymily!
We are very happy to present you this high rising producer from Italy on HOUSEWAX. 4 super deep late night cuts for every record bag!
Highly recommended!

East London's Rupert Ellis looks out into the stars on this astral-leaning tech house outing for the fledgling Ebullience label. There is plenty of bounce to the circular drums of 'The Beams', with fizzing rush of crystalline synth and sugar chords all getting you up on your toes. 'Deeper Blue' is a silky sound with a subtly optimistic feel in the chords and dreamy melodies, complemented by a spoken word that adds to the escapism. Lewis Taylor remixes 'The Beams' with a little more drive but still keeps things decidedly warm and soft-edged. Classy cruisers all round.

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