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Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

We are alive and well — thank you for asking. As the seasons begin to fade, we had no choice but to release this record by the mysterious Stockholm – ish duo (?) Ation Rop and Iceman MK. Expect everything you might find on other tanzmusik – platten — minus, well, everything. This one is actually fun, warm, close to the heart, and dare we say: very, very, very good. If you have an open and sincere interest in life, art, literature, and poetry, this might be something for you. Otherwise, please look elsewhere — these ar en’ t the droids you’re looking for!

Transparent orangenes Vinyl. Unter dem Titel "II - Incarnate" legen SHAYTAN ihr zweites Album vor - und festigen ihren Mix aus Doom/Stoner und klassischem Heavy Metal mit orientalischen Einflüssen. Wo das Debüt "Chapter One" (2024) noch als Beschwörungsformel diente, steht das zweite Album für die Manifestation allen Übels in düsteren, aber auch melodischen Klängen. Musikalisch bleibt die Band ihren Wurzeln treu, erweitert den Sound aber durch noch atmosphärischere Klangbilder, die auch durch den intensiveren Einsatz von Hammondorgel und wuchtigeren Bass-Sound getragen werden. Die Produktion stammt von Charles Greywolf (Hammer King, Godslave).

2026 Repress

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

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

Precisely one year after Lézire, Crush of Souls is back with his third full-length album.

The musical endeavour of Charles Rowell – active in the indie/punk global scene since 2008 with bands like Crocodiles, Flowers of Evil, Issue – is just like its creator: always cooking up something. Relentlessly.

Now, as it was perceivable by the trajectory undertaken by after his previous LP, Captive Youth leaves goth rock and dark folk aside and head swiftly towards some old school 80’s EBM & 90’s Industrial dance vibe. After all, any album exploring themes of dystopia, politics and sexuality requires a strong rhythm. So how could this new chapter not mention seminal synth-pop and body music classics such as Technique by New Order, Belief by Nitzer Ebb, Towards Thee Infinite Beat by Psychic TV and Pressure Points by Anne Clark?

Forever a displaced soul, Charles’ album number three feels like a revision of Crush Of Souls and also a reanimation of his captive youth spent moving from town to town. The energy of the wandering worker poet. Warehouse basslines, artillery fire backbeats. Romance and melancholy wrapped in barbed wire. All this and more oozes from nine new tracks that inevitably deliver that blurry sexy urban vibe that’s become the project’s trademark.
Features collabo hit single Domination with Sade Sanchez from L.A. Witch.

araviglia, the sixth album by Italian percussionist and producer Gabriele Poso, celebrates collective musicianship through a vibrant, groove-driven sound. Inspired by late 70s Italian disco and global rhythms, the record blends Mediterranean warmth, Afro Caribbean percussion and jazz sensibility, with one foot firmly on the dancefloor. Recorded live to tape in an analog studio in southern Italy, with heavy percussion, Rhodes, Hammond and a full brass section, the album delivers an organic, joyful sound built for both deep listening and global dance floors.

araviglia, the sixth album by Italian percussionist and producer Gabriele Poso, celebrates collective musicianship through a vibrant, groove-driven sound. Inspired by late 70s Italian disco and global rhythms, the record blends Mediterranean warmth, Afro Caribbean percussion and jazz sensibility, with one foot firmly on the dancefloor. Recorded live to tape in an analog studio in southern Italy, with heavy percussion, Rhodes, Hammond and a full brass section, the album delivers an organic, joyful sound built for both deep listening and global dance floors.

- The very first Live album by The Liminanas
- 1 Hour concert performed & recorded on October 24th , 2025 in Paris at Centre Pompidou during the Because Beaubourg Event .
- Album artwork by Smith who did the visuals of the live performance.

Unheard Music returns with its second release, delivering a hypnotic and club-driven Tech House package by Malandra Jr. and pizzaaftersex.
Built around the infectious pull of Your Retreat, this EP captures that late-night tension where groove, atmosphere, and repetition lock into one fluid movement. The original mix sets the tone with a stripped yet emotionally charged framework, balancing rolling percussion, subtle pressure, and a strong sense of floor-focused depth.

Soul Stage lands another essential chapter with Soulstage 002, a seriously classy and deeply authentic statement from the one and only Orlando Voorn. Carried by the unmistakable spirit of Detroit, this release is the kind of record that reminds you why true house music never loses its power, timeless, soulful, effortlessly cool and full of authority.

Deeply rooted in dub techno but reaching far beyond genre routine, weight, atmosphere, restraint and absolute emotional pull. This is dub techno at a truly exceptional level, elegant, deeply absorbing and crafted with the kind of vision that separates strong releases from genuinely unforgettable ones. A massive record with real staying power, and another stunning transmission from Notta Records.

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.

It is time for the guitar riffs and the basslines deeper than the Mariana Trench and therefore who can do it better than the Uruguayan born & raised mastermind that stands behind this next next edition - Matole. Hearing the music from this man leaves a great positive feel wanting to dance, live and love life. By perfecting his sound over the years, as soon as it touches the ear canals you can tell that it’s him and can only be him behind the wheel.

By his young age with utmost will to create, the man is leaving disc artefacts all over the globe working with different labels and promo teams. Now the time has come to synergize with XRD and the feeling is absolutely blissful. As the wise people say the algorithm is not going to fight itself, very important to get into battle stance and show these ones and zeros who is the boss around here.

Natural Goofy & TC80, two close friends and respected producers, have been spending time together in the studio in Barcelona.

No rules, no timeline, just jamming with machines and letting the sound flow in the moment.

The result is NO PLAN EP: a snapshot of instinct over intent, a record shaped by presence rather than plans. A raw dialogue between friends, gear and the dancefloor.

Made with love, for the music.

Released as a limited vinyl-only edition within the Planka Records series, continuing the label’s mission of capturing underground sounds and sharing them with those who listen deep.

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.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.