quête:new identity

Following the massive success of Torment, Bidoben returns to Sciahri's Sublunar with a new EP titled Jett, a record that showcases his distinctive and forward-thinking sound design, cementing him as one of the strongest figures of the new generation.

The EP opens with Jett, a powerful and melodic cut marked by Bidoben's unmistakable sonic identity, followed by Voltage C, a refined and minimal piece with a subtle epic touch. The A-side closes with Tormented, a fierce reimagining of the atmosphere that defined Torment, demonstrating the artist's ability to evolve and expand his expressive range.

On the flip, Hypernature sets the tone with captivating grooves and cosmic melodies, leading into Ashley Origami, a solid, floor-oriented tool designed for peak-time tension. The journey concludes with Edges of Normal, the most mystical track of the release, lighter in tone but no less engaging.

Hailing from Barcelona they are an eclectic, discerning form of contemporary industrial music, deploying compulsive minimal synth and primal polyrhythms, as well as uniquely reconstrued elements of post-punk & EBM. An artistic identity that embraces influence yet eschews compromise, changing flavors, but not essence, from release to release. Their music has been shared or praised by Iggy Pop, Cosey Fanni Tutti (Throbbing Gristle, Chris & Cosey), Geoff Barrow (Portishead, Beak), among many others.
This LP shows Dame Area most melodic side, bringing back experimentation to the genres of minimal synth, synthpop or EBM: subverting them from the inside, finding new ways to innovate, giving us unexpected twists along the ride. FFO: Chris and Cosey, DAF, Giorgio Moroder, Essaie Pas, Kraftwerk, Liasons Dangerouses.

High Altitude 002 brings together three rising forces from three different corners of the world. Stckman, Simone Rossari, and Goosebumps represent a new generation of producers with a shared futuristic vision and a highly distinctive musical identity.

The EP features three forward-thinking tracks, each shaped by the unique taste and cultural background of its creator, yet unified by a powerful, modern sound aesthetic. From deep afterhours mornings to the most crucial peak-time moments of the night, High Altitude 002 is designed to fit seamlessly into any part of a DJ set.

A global collaboration, a futuristic attitude, and a fresh perspective on underground dance music — this is High Altitude 002.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

DOGMA marks a new beginning for Coloray. As the name suggests, the project explores the endless search for meaning in a world that does not always offer one. Across 11 tracks, the artist reflects on queer romance, grief, youthful hope, and melancholic joy. Emotional, chaotic, and imperfect, DOGMA mirrors both the artist and the messy reality of a life unfolding. Rather than forcing rigid structures, the album embraces looseness and human presence. Live recordings and improvised songwriting take center stage- every lyric was written in the moment, and the tracks remain intentionally raw to preserve their imperfections.

In this way, the album is both personal and political. It calls for belief in keeping humanity alive and for dismantling the societal dogmas that push artists away from the core of their creative identity. DOGMA is an honest journey of self-authorship, unfolding through the sounds of new wave, disco-punk, electro, and ambient music.

The title Dillema refers to a state of tension, choice, and duality mirroring the track’s layered structure and driving push-and-pull energy. Shinedoe intentionally chose the alternative spelling “Dillema” simply because she liked how it looked better visually. The unconventional spelling became part of the track’s identity and attitude, reinforcing its independent and uncompromising character.

Dillema (Original – 2004)
Timeless Detroit-inspired techno, built on tension, groove, and raw momentum.

Dillema (Gregor Tresher Remix)
A driving techhouse interpretation, blending hypnotic rhythms with a sleek, modern edge.

Dillema (Alexander Kowalski – Pressure Point Remix)
A powerful, high impact techno version built for peak-time intensity.

With these new versions, Dillema once again proves its timeless relevance, reintroduced for a new generation while remaining deeply rooted in its original spirit.

Shinedoe is a driving force in the global techno scene for nearly three decades, known for her hypnotic grooves and uncompromising vision. Through MTM, she continues to push the boundaries of electronic music, releasing tracks that ignite dancefloors and evolve the genre.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

Andalusian emerging-talent producer GAZZI, a young yet influential figure within the broader Spanish electronic scene, presents an LP that feels like a quiet turning point in his career. Rooted in ambient and new-age minimalism, the record drifts through piano-based textures, soft pauses, and spacious moments that invite deep introspection.
Across its delicate arrangements, GAZZI captures the sensation of slowing down in a world where everything feels fleeting. These tracks hold space for reflection-offering nostalgia, stillness, and the subtle suggestion that hope remains at the edges of even the most ephemeral moments. Each piece unfolds like a landscape suspended in time, shaped by restraint, emotional nuance, and a profound sense of presence.
Presented by Glossy Mistakes, the release reflects the label's ongoing commitment to uplifting a new wave of contemporary Spanish artists, highlighting creators who are redefining the country's sonic identity through experimentation, sensitivity, and forward-thinking sound design.
In GAZZI's own words:
"These songs were made to sit with the wound - to let you drift, to feel scattered, contemplative; they're meant to keep you from thinking too much - or maybe to make you think a lot."
The result is a meditative, deeply personal body of work-one that not only marks a cornerstone in GAZZI's artistic path but also extends Glossy Mistakes' mission to showcase innovative, emotionally resonant voices from Spain's evolving music landscape.

Two decades into their existence, Elder remain an anomaly in the heavy underground - a band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their identity. Their new album Through Zero is a reaffirmation of their commitment to pushing boundaries and cements their status as leaders in heavy psychedelic rock. Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmosphere along their path of music-making in the past twenty years. On Through Zero, Elder takes these years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find familiar elements of new textures, sequences, and sounds alongside Elder"s iconic take on heavy rock. As always, every spin reveals new details. Recorded in Berlin across several months between tours in 2025, Through Zero is the first album which the band not only produced but also comixed together with longtime collaborator Richard Behrens. The album sounds more like a full extension of the band"s creative intentions than ever before.

2026 Repress!

The story begins in 2000 in Britany (France). Two guys decide to create a sound system with the aim of sharing their common passion for roots reggae and early digital. Rootystep (selecta) and MacGyver (operator) begin to collect records and purchase music equipment. They are quickly joined by Pupajim who becomes the MC, the singer and the dub builder. The Stand High Patrol first toured the land of Brittany, gradually moving towards stepper dub production emanating from the English stage. Fifteen years later, the sound is more present than ever. Stand High has created a true identity and has established itself as one of the essential sound systems of the French dub scene. In 2009, Stand High Patrol creates his own label "Stand High Records". In 2012, after releasing several records, the Dubadub Musketeerz present their debut album "Midnight Walkers", 13 exclusives & wicked tracks inna pure Dubadub Style. In 2015 the dubadub experience takes on new dimensions with their second album : "A Matter Of Scale". In 2017 they are back with "The Shift" a third LP totally dedicated to Boom Bap & 90s Hip Hop. Words, blue notes, boom bap and bad news: here comes "The Shift", the third album of Stand High Patrol.

IN 2017, TRYING TO MAKE BOOM BAP FROM THE 90s, INSPIRED BY JAZZ FROM THE 60s, MIXED WITH MACHINES FROM THE 50s

Lyrics, Boom bap and bad news: Stand High Patrol present their third album 'The Shift' and confirm their attachment to 90s hiphop.

WRWTFWW Records is ecstatic to announce a limited edition vinyl release of the remarkable PONYBOI (Original Motion Picture Soundtrack) by Chilean-born composer, arranger, music producer, and multi-instrumentalist Cristobal "Cristo" Tapia de Veer (The White Lotus, Utopia, Smile, Black Mirror, and many more).
This collector's edition presents Tapia de Veer's complete original score for the critically acclaimed feature film PONYBOI - a bold, genre-defying neo-noir tale directed by Esteban Arango and and starring filmmaker, actor, screenwriter, model, and intersex rights activist River Gallo who also wrote the movie. The soundtrack arrives as a deluxe audiophile vinyl LP, housed in a luxurious 350gsm gold cardboard sleeve, cut with utmost precision by Sidney Claire Meyer at the legendary Emil Berliner Studios, home to Deutsche Grammophon's world-renowned legacy.
Vivid, seductive, gritty, dreamy, tender, and sometimes heart-pounding in its tension, the PONYBOI soundtrack is a sinuous creature of its own - an emotional, atmospheric, and deeply textural listening experience. Tapia de Veer fuses shimmering electronics with haunting melodies, raw rhythms, shadowy ambience, and surges of romantic intensity, perfectly embodying the film's world of danger, desire, identity, and survival on a single wild New Jersey night. It's daring, intimate, stylishly noir, and unmistakably Cristo: music that refuses boundaries and speaks directly to the pulse.
The LP showcases Cristobal Tapia de Veer's uncanny ability to blend experimental sound design with narrative emotion - a talent that has earned him global acclaim and numerous awards, including four Primetime Emmy Awards for The White Lotus.
This new WRWTFWW edition celebrates his artistry in its purest form: warm, rich, analog, and physically stunning. A must for soundtrack fanatics, ambient and experimental music lovers, and rare memorabilia collectors.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

Bézier ripples their way back to Dark Entries with Decompose, an LP of doomed spa music. Multi-instrumentalist Robert Yang has made numerous appearances on Dark Entries for more than a decade, with releases spanning the stylistic gamut from hi-NRG disco floor-fillers to lush ambient epics. Decompose, Bézier’s second LP, is perhaps his most introspective work yet. It is an album almost ten years in the making, a deep investigation of life, loss, and the struggle of knowing oneself. If one were to pull a tarot deck for this album it would be the Nine of Swords. The album honors the lives of the fallen victims of Pulse Nightclub. It honors lives lost or suffering through the ongoing genocide in Gaza. The title track takes the form of a Buddhist chant, a brooding synth-driven meditation that scales steadily until breaking into John Carpenter-esque arpeggios halfway through. Tracks like “Egg,” “Marionette,” and “A Fading Citadel Atop Black Sand Bluffs” build on this soundworld, one in which intricate melodies and cavernous reverb induce in the listener feelings of both claustrophobia and free-fall. The album’s dancefloor-leaning moments, like “Codebreaking” and “Split a Path Towards the Thicket” are spartan, tunnel-vision techno tracks speeding towards ego-death. Decompose chronicles Yang’s journey to find peace with himself, as a gay Asian American. During this process, they learned to “repot” long-lost parts of their identity so they could grow forth in wholesome fashion. The sleeve for Decompose was designed by Eloise Shir-Juen Leigh, and features a photograph by Frankie Casillo of Robert laying on a bed of rocks in savasana pose, resembling an ascetic, evocative of the monastic vibes of the record.

The first chapter of a new series exploring identity, temporality and the many dialects of contemporary techno. Four tracks, four distinct approaches, yet bound by a shared pursuit of tension, texture and transcendence.

Chronicles Diary introduces its identity with WAYF VOL1, the first entry in a series asking when, not where, this music belongs. The answer comes in four club pieces that favour impact over ornament, tracing tension, texture and a sense of forward movement.

Boyd Schidt & Uvall's "Bullet Train" is tensile 4/4, serrated hats and a tunnelling bassline pulling the room into a tight zone. Commissar Lag's "Battle Rites" ups the pressure, all offline bass and percussive rhythm. MMSS pares things back on "Aion_01," a looping, hypnotic figure that blurs time without dropping energy. Time Traveller (UK) closes with "Stud," glitched and driving, a roughcast groove that breathes between the hits. Four perspectives, one intent: functional, underground Techno that works.

STRIKER TRAXX proudly presents its very first release — STX101: BALLAN “Chantal Grooves EP”.
Born as the new sub-label of SUPREME STRIKER, itself a direct emanation of the Skylax Records universe, STRIKER TRAXX sets the tone for a new era: raw, uncompromising, and forward-thinking. As always, the visual identity is entrusted to the legendary H5’s exclusive artwork (Daft Punk, Air, Logorama), delivering a striking design that transforms each copy into a true collector’s object.

For this inaugural strike, we welcome Asaf Ballan, aka BALLAN, an artist emerging with force from the vibrant beatscape of contemporary electronic music. With Chantal Grooves EP, he delivers a 12-inch packed with five club-weapons that dive deep into the essence of house and tech house, reshaping them with his own relentless, pumpy twist.

The trip opens with “How Should I Start”, a perfect ignition, teasing anticipation while locking you instantly on the groove. “Goddamnit (Club Tool)” follows as a pure machine workout, echoing Kerri Chandler’s house foundations while pushing them into today’s territory. “Members Only Club” exudes exclusive sophistication, a secret-weapon built for late-night dancefloors. On the flip, “Keep the Frequency Clear” hypnotizes with razor-sharp frequencies, proof of BALLAN’s sonic craftsmanship, before “Futuro” launches us headfirst into tomorrow—where innovation collides with the Romanian sunrise aesthetic, infused with a heavier, raw energy.

Influenced by the minimal masters (Zip, Ricardo Villalobos, Raresh) yet unwilling to compromise on drive and power, BALLAN delivers here a record where every track stands as a killer. Chantal Grooves EP is both a homage to the roots of house and tech house, and a manifesto propelling the genre into its next evolution.

STRIKER TRAXX launches with a statement: this imprint is made for DJs and dancers who still believe in vinyl as a sacred object and in the dancefloor as a transformative space. With H5’s exclusive artwork (Daft Punk, Air, Logorama)and Skylax’s uncompromising vision, each release is conceived as a weapon for the underground, and a jewel for the true collectors.

Vinyl only. For devoted believers.

For their very first offering, Hanna & Robbie unveils a 5-track album making an ever possible encounter between psychedelic fractured grooves and mellow sci-fi haze in a divergent electronic shell. Planet42 carves a slow-burning path through severance and trance, a trip back to the subconscious like an escape or a sin, guiding both body and mind into unfamiliar exploration

Taking a fey look on electronic performance, where dubby-inspired and fractured rhythms tend to unveil ethereal ambiances, HR was born and raised in the emergent underground electronic French scene and started being moving targets in 2023 with a first live show at the Supercamp Festival happy few’s gathering.
With a mosaic of gritty textures, clubby breaks and otherworldly echoes in the lead-off project Planet42, Hanna & Robbie dives deep in this restless esoteric tension their identity is all about : an spunky early signal sculpting precise and intricate yet atypical tones revealing this crawling need of delivering unsettled arrangements and dreamscaped lines. Already in the move for their next in order work, it is settled in their experimentation lab that new doses of psychedelia and delusive resonances were written as an incipit to a future alternative live act.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.