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Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio
album and first solo release in over a decade. From her years with The Family
Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and
Lalah Hathaway, Sandra has built a remarkable career that has consistently
blurred the lines between soul, funk, jazz and gospel.
Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue,
Eleven brings together Sandra's longtime collaborators alongside the Mother
Tongue family, bridging her rich musical legacy with a fresh, forward-looking
sound rooted in soul, jazz, boogie and soulful dance music.
The album combines brand new compositions with inspired reinterpretations,
from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his
masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki
Donga, to a beautifully understated new version of Sandra's own Dizzy,
originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy
Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way,
the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah
Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and
What Would Miles Do showcase an artist continuing to evolve while remaining
true to her artistic voice.
Rooted in experience yet driven by curiosity, Eleven bridges Sandra's
remarkable musical legacy with the creative vision of Mother Tongue, resulting
in an album that feels both timeless and unmistakably

Each year, countless people slip quietly out of their own lives, leaving no trace behind. The Japanese have a word – 蒸発 “joha’tsu” – the ones who “evaporate.”

Some flee mundane and heavy lives or simply the shadow of themselves. A few turn to the – 夜逃げーや “yonige-ya” or “night‑movers” – companies that specialize in helping someone vanish and begin again in some distant place.

'Music aged in time, resonating from the surface to the core through layers and sediments of stones - the strata. Four morning recording sessions with a separation between them of between three and ten months - a chronozone that will rest for a time and on which the next one will be added, thus forming the total of the six pieces of the album - becoming six strata.
'A slow-moving album that develops landscapes of subtle but continuous evolution, where we find layers of diverse nature created from different procedures, bathed in the calm waters of wabisabi, where melancholy, immensity, insignificance, the potential of the unemerged, coexistence and simplicity converge at the same time.'

Forbidden Dance Records returns with its 13th release to the city where the label's journey first began: Chicago.
For The Black Is The Night EP, longtime Chicago house figure Vick Lavender joins forces with multi-instrumentalist Justin Dillard for three deeply musical downtempo cuts, bringing together the language of Chicago house with jazz, soul and live instrumentation.
Born and raised on Chicago's West Side, Dillard is a pianist, Hammond organist, percussionist, composer and arranger whose musical path has crossed with figures such as Branford Marsalis, Ornette Coleman, Roscoe Mitchell and the late Von Freeman. His musicianship has also become an integral part of Lavender's richly organic productions over the years.
Across three tracks, Lavender and Dillard slow down the tempo without losing the pulse. Warm keys, live instrumentation and loose percussion unfolding through the kind of deep, soulful arrangements that have long defined their work together.
A return to Chicago, but from a different angle.

We are delighted to welcome back one of our most cherished artists, Life Recorder, for the third instalment of his remarkable Time Moods series on Visions Recordings.
This latest release delivers four vibrant and immersive tracks, blending deep techno textures with refined grooves, another strong statement in the series.
Far from the hype, French DJ and producer Kriss, aka Life Recorder, has been steadily shaping a distinctive sonic identity over the years. Deeply influenced by the heritage of Detroit and Chicago’s house and techno scenes, his sound travels effortlessly across genres while remaining rooted in soulful depth.
Born in the French suburbs of Geneva and now based in Marseille, he began his journey in the 1990s, connecting with music through record shops, DJing, and the evolving club culture of the time.
With this third chapter of Time Moods, Life Recorder continues to craft a timeless and introspective musical narrative.
Alex and Stephane Attias

The A-side delivers two sublime cuts drenched in that
unmistakable Italo-Balearic magic. Warm chords, sun-kissed
melodies and effortless grooves transport you straight back to
the golden days of mid-'90s Italian house music. Eyes closed,
you're cruising along the Riviera with the top down, lost in
pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.
The B-side explores deeper territory, moving through a range
of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running
through these tracks—driving, hypnotic and full of attitude—
yet they never lose the emotional depth and musicality that
have become a Westcoast Goddess trademark.
Just when you think the journey is complete, the EP saves its
ace for last. Closing things out is a hypnotic funk groove built
around silky Rhodes, a tight rhythm section and an iconic
bassline—a fitting finale that leaves a lasting impression.
A seriously strong package from start to finish, and another
essential chapter in the ever-expanding world of D3 Elements.

Carlos Benedetti, a Colombian house producer and live performer from Cali, has steadily become one of the standout names in today’s underground dance scene. Following multiple vinyl releases on the acclaimed German label Disco Disco, Benedetti’s productions have earned widespread praise and support from respected figures including deep house icon Cinthie.

Specialists, selectors and collectors alike have described his records with comments such as:
“fabulous 12-inch”
“This is the most wild dance record to come out this year so far”
“Cannot formulate the words to capture how this one sounds and makes me feel”
“Listen close and behold.”

With this latest EP for SUPREME STRIKER, Benedetti once again delivers a collection that feels destined to become a future underground classic.
The record opens with Nostalgia Blues, a soulful and deeply textured piece channeling the spirit of Larry Levan’s legendary dancefloor energy, somewhere between disco’s emotional golden age and modern club functionality.
On Bellavista, Benedetti dives deeper into high-energy territory, layering powerful black grooves, hypnotic rhythmic tension and rich percussive movement into something both vibrant and timeless.
Pyramid follows with soaring arpeggios and delicate melodic flourishes, recalling the euphoric sophistication of Todd Terje at his most inspired, while maintaining Benedetti’s raw dancefloor sensibility.
Closing track How High The Moon nods toward Patrick Cowley’s pioneering synth work, injecting the EP with cosmic disco pressure, futuristic funk textures and a strange late-night sensuality.

More than a simple collection of tracks, the EP unfolds as a fully coherent journey through house, disco, Italo and high-energy mutations, balancing emotional depth, machine-driven grooves and timeless dancefloor instinct with remarkable naturality.

With Where We’re At, Tonique & Man deliver a warm and vibrant second album blending indie pop, soul and soft disco. Staying true to the groove that has become the duo’s signature, the record reveals a more mature and personal side of Jean Tonique and Mi Man.


Both recently becoming fathers, the two musicians are entering a new chapter in their lives, one that naturally shapes the album’s songwriting: a more intimate reflection on how far they’ve come, what they’ve built, and what continues to drive them to create.


Recorded at the legendary Studio Ferber in Paris, Where We’re At also features collaborations with Girl Ultra and Rejjie Snow, bringing new textures to the duo’s sound. An elegant and generous album where pop immediacy meets more intimate songwriting, opening a new chapter for Tonique & Man.

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
[Remastered] 4:44

Presenting the 3rd outing from the DMV crew, thank you for waiting patiently inline. On the A we have Busta Bus, flexing his lyrical flow all over Rick’s sweet Mary Jane. On the flip side, 90s underground stalwart “Red Hot Lover Tone” gives his approval to the Stars in Herbie’s eyes.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

Balvanera is the project of Agustina Vizcarra and Lucas Palavecino from Buenos Aires, Argentina.

Since 2016, the duo has been building a sonic narrative that moves between the corporeal and the spectral, exploring waves and minimal synth as well as more intense and rhythmic directions closer to Body music, all while sharing the stage with artists such as Clan of Xymox, Boy Harsher, Die Selektion, Kontravoid, NNHMN and Ashcode.

New album Hasta tocar el fondo vacío del lenguaje arrives as an attempt to push expression to the limit, focused on language and sound as expressive forms.
With all tracks sung in Spanish, the album is a declaration of identity and at the same time an exercise with Spanish itself: how to play with a language that sometimes feels baroque and turn it into something stark while retaining its richness. Musically direct, the album occasionally returns to some minimalism reminiscent of the band’s early releases while preserving the intensity and club-oriented feel of their later work. At times intensifying in speed, the record brings the energy of their live performances to visibility, while other tracks feel like an unsettlingly dreamlike atmosphere. The title – meaning Until Touching the Empty Bottom of Language – borrowed from a fragment of Arturo Carrera’s poem Escrito con un nictógrafo, offers a clue to Balvanera’s nocturnal sensibility: those thoughts and images that can only emerge in the sleepless hours of the night, when they reach their most revealing edge.

Hasta tocar el fondo vacío del lenguajen explores death as something hidden within language while allowing each track to find its own form rather than adhering to genre conventions.

Split released with DKA. Out October 1st, 2026 on aquamarine vinyl LP limited to 500 with lyrics insert.

PRAANA unveil their highly anticipated album Insight Out on Colorize, a deeply immersive body of work that explores reflection, connection and emotional growth through the duo’s signature cinematic lens.

Built around themes of reflection, presence and human connection, Insight Out creates a rich sonic landscape where atmospheric textures, subtle rhythms and emotive songwriting coexist with effortless grace. Featuring collaborations with Susie Ledge, Tina Parol, Freddie Elmberg and Courtney Storm, the album showcases PRAANA’s ability to create music that feels both intimate and expansive. An alias of Tritonal, PRAANA have amassed over 30 million streams, earned sustained support on SiriusXM Chill and recently completed U.S. tour dates in Chicago, Denver and a sold-out Elsewhere Rooftop show in Brooklyn.

Insight Out stands as a fully realised artistic statement, offering a space for stillness, reflection and meaningful escape through sound.

With World Beats Vol. 3, Lello Di Franco recruits a powerhouse team of remixers known for their dancefloor instinct—featuring Gerd Janson, Johannes Albert, Ben Hixon, and Gerd. Together, they preserve the cosmopolitan, percussive pulse of the original tracks while elevating them into peak-time club anthems. This masterfully crafted remix EP breathes new life into the project through diverse yet seamlessly cohesive interpretations. A must-listen for lovers of sophisticated house, nu-disco, and forward-thinking global sounds.

UK Garage has ridden a new wave of hype and exposure over the last few years. Artists like Sammy Virji and Interplanetary Criminal have crossed over to the mainstream, while dancefloors across the world have shaken to a switched-up version of the sound that defined the UK underground either side of the millenium.

Hidden beneath a pink balaclava, the mysterious DJ Jackum has lurked this rejuvenated scene while dropping some of the most defining bangers of the period. Often surfacing in the form of moody edits released on Soundcloud, Jackum productions inevitably demolish dancefloors whenever dropped, as they frequently are in the sets of Virji and the other big guns.

Landing on Hotflush, a storied label of UK underground music, ‘Context’ is his most substantial work to date. Six tracks covering the full spectrum of the Jackum sound, from 4/4 heaters to dubstep-adjacent eyes-down bass pressure.

And in the form of opening track ‘Floo’, Jackum spreads his wings into a place that transcends the narrow confines of genre definition. From the UKG building blocks of bass, drive, cut-up vocals, and melody, the track emerges as something both familiar and wholly unexpected - the mark of a producer at the peak of their powers.

‘Clip Empty’ is another highlight of this standout EP. Showing a flair for the cinematic, a breakdown of militaristic snares gives way to a trademark rolling bassline and earworm vocals.

Away from the 4/4 bangers, ‘Take Your Body Higher’ is a guaranteed half-step rewind, while ‘Step Up’ recalls memories of smokey Plastic People sessions of the mid-2000s.

Ruminant Records looks back at the corners of American rave music that lived on the dancefloor, in record bags, and in local clubs. Dwelling on music from the past and bringing it into the present, the label is as much about where these records can go now as where they come from.

For its first release, Ruminant celebrates the music of the late DJ Dic on the North Carolinian Hoodwink Records imprint. Filled with the untamed possibilities of the early breaks scene, the tracks’ playfulness, color, and ecstasy mix easily onto the dance floors of the present.

The A-side starts with DJ Dic’s “All A Dream,” blurring the lines between breaks and machine funk. Continually shifting and coming into focus, a narcotic vocal repeats “do you remember, I thought you were there” before the track takes a turn for the liquid, opening into something symphonic, cinematic and joyous. Just as it seems to have reached transcendent bliss, the vocal returns whispering in your ear and lulling you into euphoria.

It’s met with a new remix from Kyoto’s Stones Taro, who pulls the track around a feverish refrain and driving break, its pulsating regularity tightening the original into something dizzying, immediate, and built for the club.

If the A-side is exuberant, the B-side begins with a warning. “Hypnotize” is disciplined, tight and hard, its rhythmic coolness slowly sucking you into a vacuum without space or time. The listener is lost, but willingly so for the seduction is the point. Hypnotize indeed.

The Johnny Cage Procrastination Mix takes those same threatening undertones and lets some air back in, filling the space with bounce, drips and a playful silliness. Synth-laden and fun without losing the original’s edge, it brings some of the A-side’s exuberance back around and closes the record where it began.

"Surface Noise Isn’t A Crime" continues NOREPRESS’ exploration of texture, pressure, and imperfect sound as core elements of underground electronic music. Across four tracks, the release moves through Deep Tech House, Dub Techno, Electro, and Breakbeat without settling into fixed genre boundaries, balancing functionality with experimentation throughout.

A1. Tvardovsky feat. Andrey Zverev – Flute Meditation opens the record with a dense, slowly unfolding trip built on dub space, electro tension, and hypnotic Tech House movement. Organic flute phrases drift through layered percussion, evolving bass pressure, and spacious analog textures, creating a strange collision of futurism and nostalgia. The track resists obvious peak-time formulas, choosing gradual transformation over immediate impact and rewarding deeper immersion with every transition.

A2. Osman Öz – Regrets moves into softer territory without losing rhythmic weight. Warm breakbeat structures, airy melodic fragments, and fluid low-end movement give the track a calm but persistent momentum. Osman Öz keeps the arrangement restrained and precise, allowing groove and atmosphere to carry the emotional core of the composition naturally.

On the B-side, Kirill Matveev appears under his Natural Piece Of Aloe alias with two contrasting interpretations of the project’s dub-informed language.

B1. Salto Mortale is playful, unstable, and constantly mutating. Rhythms stretch and reorganize themselves around shifting tonal fragments, while the arrangement moves with the loose unpredictability of an improvisation session. Despite its complexity, the track never loses control, maintaining a strong forward pull through every unexpected turn.

Closing the record, B2. Columbo Beat, Kirill Matveev - Sundub pushes deeper into darker territory. Acid sequences slice through heavy dub atmospheres while rugged drums and saturated low-end pressure drive the track forward with raw physical energy. Distortion, space, and movement interact continuously, turning the track into a hypnotic late-night tool designed for more adventurous dancefloors.

"Surface Noise Isn’t A Crime" captures NOREPRESS at its most confident: raw textures, deep space, broken edges, and timeless club influences reconstructed into a modern dub-driven framework.

NOREPRESS is a division of MixCult Records

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.

Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.

The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.

The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.

Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.

Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.

Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.

Breakbeat Paradise Recordings welcomes back Umbo for another heavyweight installment of the Toxic Funk series. One of the original pioneers of the Nu Funk movement, Umbo once again delivers two dancefloor-ready cuts packed with soulful samples, infectious breaks and unmistakable funky vibes.

Having released music on respected labels such as Good Groove Records and Timewarp, Umbo has built a reputation for crafting timeless party weapons that blend classic funk with modern breakbeat production. His previous appearances on Breakbeat Paradise have become fan favorites, and Toxic Funk Vol. 24 raises the bar once again.

Leading the release is Got Soul, a groove-laden funk workout driven by punchy drums, irresistible basslines and uplifting soul energy that's destined to ignite dancefloors. On the flip side, Save It delivers another dose of vintage funk attitude, combining tight breaks, funky rhythms and cleverly chopped vocals into an irresistible DJ weapon.

Whether you're spinning funk, breaks, nu disco or party edits, these two cuts are built to keep the energy high. Toxic Funk Vol. 24 is another essential addition to the Breakbeat Paradise catalogue and proof that Umbo continues to be one of the scene's most consistent producers.

Italian sound artist Giulio Aldinucci returns with his 5th album on Karlrecords: "Materia" is unsurprisingly a truly masterfully composed and sound-designed ambient masterpiece that adds perfectly to a series of critically acclaimed albums like “Disappearing In A Mirror” (2018) or “Shards Of Distant Times” – some of which made it onto several year’s best lists.

Giulio Aldinucci is an Italian composer and sound artist from Siena, Italy. His work focuses on ambient and experimental music, blending field recordings, electronic processing, and acoustic elements. Active since the early 2000s, he has released several solo albums on international labels including Karlrecords, Home Normal, and 99chants. His compositions often explore themes of memory, perception, and the relationship between sound and place.

Aldinucci's music is characterized by immersive, multilayered textures and meticulous attention to sonic detail. He constructs expansive soundscapes by integrating processed environmental recordings, choral elements, instrumental timbres, and subtle harmonic shifts. His style draws from both the aesthetics of contemporary ambient and the techniques of electroacoustic music, resulting in works that are at once atmospheric and conceptually grounded. The interplay between organic and synthetic sound sources is central to his approach, blurring the boundaries between the natural world and the constructed sonic environment.

His works have been presented at international festivals. He has also created art installations and multidisciplinary performances. In addition to his solo output, Aldinucci has collaborated with a wide range of musicians and artists, developing projects that intersect sound art, composition, and performance.

Aldinucci about "Materia": "Materia focuses on the idea of sound as a matter, which can be shaped into complex forms by removing excess material from the sound mass.The album originates from the dichotomy between accumulation and subtraction, creating compositions out of frequency-dense audio material in order to unearth what is “hidden” inside the raw sound mass. Unlike sculpture, in music time can be matter too by shattering sounds into milliseconds andrecompose them with a different fragments order, going beyond the traditional notions of rhythm and duration.“

Our initial Prepared Piano & Percussion Duet Session was at Duval's in London on Friday, November 7, 2025.
It was raining . . . When we both started to work on the pieces - that are this album - (a couple weeks later,) from our Homes is London and Topanga, it was also raining .

Ashley Beedle’s remix of "Unmask Me" by MAMA is a masterpiece of deep, atmospheric house music. Characterized by shimmering chords and shuffling percussion, Beedle transforms the original into a sunlit, Balearic-tinged gem. It famously became a signature track for the late DJ Andrew Weatherall, he notoriously played and closed his set with it at his Convenanza Festival in September 2017. Where a now trended meme video of The Guvnor vibing to the gem, whist the crowd was in absolute euphoria to the magic being made.

Now released on purple vinyl, with all profits donated to our friend Mr Beedle and his ongoing care.

You need this in your life.

Split#5 marks the fifth and final installment of the Split series on the Various Artists catalogue of Pi Electronics, pairing Spanish producer Hurtado and Greek producer Nikitas Grs. Despite their distinct approaches, Hurtado's industrial-leaning broken beat funk and Nikitas Grs' psychedelia-infused noise techno converge through a shared aesthetic of textured sound design, raw energy and dark atmospheres. On the A-side, Hurtado showcases his trademark production style through the driving cuts "Show of Force" and "Bad Company", while "The End", featuring vocals by Genevieve GV, reveals a more experimental side of his production. The B-side welcomes Nikitas Grs with two compositions that blur the boundaries between techno, trance and industrial music. The live version of "Susano" unfolds as a rolling, hypnotic dancefloor trip, while "Anoriotos" balances heavy rhythmic impact with an underlying sense of ambient nostalgia. The digital bonus track, "Pollinator 5000", reveals yet another facet of Nikitas Grs' sound palette: a relentless piece of noise-techno that rounds off the release with uncompromising intensity.

Mutual Rytm's Versus sub-label returns with a dark, absorbing new EP from contemporary techno innovators Kameliia and BLANKA. Kameliia and BLANKA both previously appeared on Federation of Rytm IV and now step forward with their long-awaited debut EPs. It is another standout for Mutual Rytm's Versus series, which has already made an impact with two previous EPs from Regent and Chontane and Klint and Hemka. This third release subtly evolves the sound into more hypnotic and atmospheric worlds that bring fresh perspectives to the series. Bulgarian-born, Norway-based Kameliia’s music is rooted in cinematic, melancholic and hypnotic sounds. She translates deep emotions into immersive sonic landscapes inspired by nature, particularly the moon, the sky and their atmospheric qualities. Along with Berlin-based Spaniard BLANKA, she has released on labels such as SK_Eleven, while BLANKA also co-founded Room Trax and draws heavily on the human voice, which she considers one of the most personal and intimate instruments. She uses it to create an emotional, direct connection with the dance floor, with a clean, minimal, timeless style rich in emotion. Kameliia opens up with the weighty kicks and eerie atmospheres of 'Bird In A Cage' before 'Red Sky' layers taut kicks and icy synths into a hypnotic forward charge full of depth and darkness, then 'Lightness' has an unsettling and paranoid lead hanging in the air next to vocal fragments and haunting pads. BLANKA’s offering begins with tightly wound kicks and bass on the dubby 'Say It With Me'; 'Self Pleasure' is an immersive and rubbery rhythm with cosmic synth work, and 'Rabbit Habits' brings funky synth lines that radiate a sense of subtle light and hope amidst the darkness of the groove. Two digital bonus cuts from each artist follow: Kameliia's unsettling, dystopian soundscape 'No Longer A Desire' and the backlit suspense of 'Vivere', and BLANKA's gritty, loopy 'Dream VST' and the deep-space odyssey that is 'Gone For Good'.

New remix series from the Veteran New York City producer / DJ / keyboardist Scott Wozniak.

2 Killer remixes of well-known artists given a new house music twist for the floors, evoking the golden era of The DFA (Darryl James, Fred McFarlane and Allen George) remixes on Fall Out Records in early to mid 00’s.

Limited Stock act fast!

Inspired by the landscapes and cultural heritage of Munzur, Boran Ece returns with Moonzour, a deeply emotional and organic club record that blends melodic grooves with atmospheric textures. The release is complemented by two distinctive remixes from Hannes Bieger and Mickael Espinosa, each offering their own interpretation while preserving the emotional essence of the original. Released on Son d'Étroit as a limited 200-copy vinyl edition alongside the digital release, Moonzour marks another chapter in the label's journey, celebrating storytelling through electronic music.

- Limited vinyl edition of 200 copies

In Permanent Vacation 20th anniversary year, Joe Goddard returns to the label with You — a fivetrack EP that feels both timeless and deeply connected to the label's musical DNA. Blending disco, house, electronica and subtle folk influences, the release captures the optimistic spirit of the early 2000s while sounding effortlessly contemporary.
Across five beautifully crafted tracks, Goddard balances warm melodies, organic textures and dancefloor elegance with his unmistakable songwriting touch. The EP features three standout collaborations: Glynn joins on the uplifting "Cutting You Loose", fellow Hot Chip member Alexis Taylor lends his unmistakable voice to "Hide & Seek", while Absolute appears on the intimate closer "Gentle Man".
You is a fitting addition to the Permanent Vacation catalogue—music that looks back without nostalgia, embraces the present, and reminds us why timeless records never go out of style.

UK house mainstay Hodge releases his long-awaited second album, eight tracks of high-calibre house and club music with a focus firmly on the dance floor.

Originally from Bristol, England, Ben Jacobs, aka Crackazat, is a multi-Instrumentalist and electronic producer. Since his emergence on the international scene, he has quickly become recognised for his unique fusion of Jazz and House music. He now presents his latest EP, ‘The Nervous Chill’, releasing on longstanding House label Nervous's sublabel ‘Nervous Chill’.

Crackazat’s influences range from the underground hip hop of Madlib to the Jazz-funk of Jamiroquai, showcasing downtempo beats and synthfunk. In 2015, he released his debut album ‘Crescendo’ to critical acclaim, as well as forming an alliance with Swedish house label Local Talk and performing supporting sets for Bonobo and Floating Points. Crackazat’s growing popularity has led to remixes by Joey Negro, Moulinex, and Tom Misch.

He now debuts on Nervous Chill with four sophisticated and downbeat tracks. Rooted in jazz, Crackazat’s signature keyboard solos, gilded violin chords, and glistening textures blend swinging grooves with silky melodies. Wind instruments anchor the tracks without limiting versatility, paired with dynamic percussion and featherweight pads. ‘The Nervous Chill’ sees Crackazat crafting a joyous, soulful EP that works both on and off the dancefloor.

Enlazando el número de referencia (el vol8) con la caja de ritmos mítica y clásica de Roland la Tr808,.. qué puede salir mal? 6 Cortes, 6 Artistas, 6 ideas, 6 visiones de este nuestro amado estilo que llamamos Electro.

Vema-Diodes_ Victory lap:
Contundencia y elegancia, ritmos rápidos, pads ambientales que cuentan una historia futurista. Resumiendo, un rompe pistas como ya nos tiene acostumbrado nuestro macarra favorito del Llobregat.

Dark Vektor_ Haciendo el Robot:
Pues esta vez el tito Vektor se ha puesto el chándal de 1984 (de Emilio tutsy ya que es un vanidoso) y nos trae una muy buena producción al estilo old school homenajeando a los mismísimos Dynamik Bass System y EPG.

Univac_Artic Defender:
Qué decir de uno de los mas grandes del electro de nuestro país, oscuridad, contundencia y sonidaco…electro rozando lo industrial rozando lo hipnótico rozando lo mas profundo de nuestro ser.

Multiplexors_Kill Circuitcenter:
Un Honor poder editar su primera referencia de este dúo formado por Sentex y AM/ALF dos friks de las máquinas y del bass, nos traen un corte muy purista super sintético con alma analógica, vocoders y 808 y lo mas importante: intención.

Calagad13_Cosmic Sailor:
Un honor tener a un grande del electro, un pionero del bass en nuestra tierra, temarrako al mas puro estilo Miami bass con una producción exquisita… un revienta pistas.

Negocius Man_Flying on Vega:
El gran Nego, que decir el Man Machine de Madroit, nos entrega un corte contundente, de culto, sonido oscuro y mental donde entras en su mundo percusivo te atrapa y ya no te deja salir hasta que el quiera.

“What do you mean? Not everyone sees music in colors?” Paula whispered.
She froze. Tears filled her eyes and trickled down her cheeks as she realized the rainbow symphonies she had always thought were universal had belonged to her alone.
The song was blue, purple, and yellow.

Es gibt wohl kaum ein Projekt, das die Welt der instrumentalen Musik zuletzt so nachhaltig revolutioniert
hat wie die Hermanos Gutiérrez. Mit ihrem meditativen Signature-Sound haben sich die Brüder Alejandro
und Estevan eine treue weltweite Fangemeinde erspielt. Doch während ihre bisherigen Erfolgsalben uns
durch die Canyons des amerikanischen Westens führten, schlägt das Duo mit Los Ojos del Cóndor ein
faszinierendes neues Kapitel auf.
Diesmal lassen die Brüder die Wüstenhitze hinter sich und reisen dorthin, wo ihre familiären Wurzeln
liegen: in den geheimnisvollen Küstennebel von Lima, Peru. Für diese musikalische Weiterentwicklung
vertrauen sie erneut auf ein bewährtes Erfolgsrezept: Es ist bereits ihre dritte Zusammenarbeit mit dem
Black-Keys-Frontmann und Grammy-Gewinner Dan Auerbach, der das Album für sein Kult-Label Easy Eye
Sound produziert hat.
Unter Auerbachs Regie ist eine üppige musikalische Odyssee entstanden, die die Weite der Prärie gegen die
hypnotischen Rhythmen Südamerikas eintauscht.