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Showcasing her raw originality and enigmatic style, the debut 12-inch EP "Drive" hits hard. Each track is a powerhouse of energy, fusing futuristic electro with gritty, blood-pumping vocals. "Drive" pushes boundaries with adrenaline-soaked rhythms and an unrelenting edge—pure driving music made for pure pleasure.

The EP also features explosive remixes from Ben Pest and Dagga, each launching the original track into nuclear orbit, primed for peak-time rave madness.

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

We’re back in the groove with the next instalment of our 45s, where killer music always wins over oddball cover art. This time we’re serving up a Balearic, under-the-radar sunset jam from obscure Belgian outfit North South East West. Soulful, warm, and effortlessly cool, it’s the kind of track that makes you want to quit your job and move to somewhere hotter.

To stretch out the magic, we called on Peckham’s finest, Medlar, who turns in a dubbed-out, spacey flip that sends the original into orbit. It’s deep, trippy, and built for the mix — you’ll want two copies just to keep it going.

File next to: forgotten private press yacht soul, poolside AOR, and those records that get Shazams pinging when they hit the turntable.

Novi Orbis 08 Compiled by Rowan is out !

limited copies 200

Genie In A Bottle Records is ready with their new VA joint !

“0101”from label owner Orbit , is definitely too short. Just after you finish this one, you’re gonna want more of this groove. Nothing is extra at first sight, but at the same time it’s one of the “toolest” tracks, you’ll hear this year so far.

“One Zero” by Kos is another piece from the B-side – a slower, buzzier, and a bit more serious one.

“Walking Bottom” by Luschn has the usual for his production overdose. In a good way, of course. Another slow-cooker just needs a good soundsystem for its full development (prepare yourself for some damage in front).

And we’re gonna finish with another jam from the label owner Fib and Лісопилка from Kyiv – Lisovskyi and his “Gallbladder” with all that squelching and some more buzz.

Grab your copy!

On Friday 25th March Parlophone Records release “Remixes” on double CD and triple vinyl LP. The album is an updated version of the 2020 Digital compilation of the same name, featuring mixes that were originally released between 1991 and 2021.

Alongside Kraftwerk’s own remixes, the album includes some of the world’s biggest DJs and Producers, including François Kervorkian, Orbital, Underground Resistance, DJ Rolando, Alex Gopher + Étienne de Crécy, William Orbit and Hot Chip.

Mobach drops his lush melodic debut album ''Cold Rain'' on Syncom Data Records. Four years after his ''Metrobots'' twelve inch Mobach delves deeper into his unique hybrid form of techno, house, electro, dub and downbeat experimental electronics. Ten tracks full of infectious melodies, clever beats and weird soundscaping that creates this typical Mobach audiosyncratic world, probably best reflected in the beautiful artwork, also from the hand of the artist.

Meet The Mechanic: Tom Ries, formerly one of Offenbach’s groove technicians, now based in Berlin, delivers three stripped house tunes designed for full dancefloor function. Known for his role in the Pager Records orbit and his dry, deadpan charm (in both music and manners), each piece here hums with twitchy funk, stripped-down functionality, and just enough mischief under the hood. We first hit him up as fans. A year later, The Mechanic is ready to roll. Built by hand, tested in clubs, and delivered with a grin.

a lacerated hunk of metal and circuitry- “Iri.gram” charred on the side- comes back round to us again, still icy from the dark reaches of its orbit as it fades across the sky like memories of a bad dream. it’s throwing signals in all directions at once, jamming any possibility of a coherent rendering and keeping its exact boundaries unknowable. electronically, it arrives as does a storm: softly, first portended by a single drop. but pick any frequency band and listen in– the cadence of the pulses as they intensify feels viscous and decidedly unmechanical. there are discernible sequences, yes, and all at 133bpm, but crouched between the frames there lurks another organizing presence that seems to grab and mutate each repetition on the way past, spewing a stream of facsimiles as it travels, seemingly in an attempt to evade both pattern recognition and any subsequent defensive reactions.

ANIMA's Third Adventure - 'ORBIT' is inspired by outer space, star dust and cycles. The trajectory of moons around planets, planets around suns. Creating an eternal cycle. An ethereal dance. Like molecules and atoms spinning endlessly the same way. Beautiful bleeps, polyrhythms, and polymeters were encouraged and delicately disguised within the orbital nature of each track in this galactic release.

PLONC Hits! 001 peaks like the Fichtelberg in the Harz mountains in Germany. A1 is every smiley face’s fantasy, bass-loaded acid with a majestic bump, followed by the most classic Chicago old-skool, so goood, I can’t take it baby. B-side takes a quick detour into the ‘90s with the first track, only to return to a laid back acid groove that ultimately kicks you into low earth orbit.

Second offering from Leo Gibbon’s MUDLINE imprint sees the producer reunite with grime’s perennial wild card, Trim, for a two-sided pressure test that flexes both restraint and raw power in equal measure.

On Side A – Orbit Step, Gibbon leans into the emotive end of the 140 spectrum — all reflective pads, sci-fi shimmer, and subbed-out swing — with Trim delivering a rare, inward-facing performance. It’s grime as meditation, anchored by subtle tek textures and lyrical ambiguity. The accompanying acapella, exclusive to the vinyl, is a potent bonus.

Side B – Danny and Darren flips the script entirely. It’s a no-frills, floor-ready juggernaut — grime at its most ballistic. Trim in full yardman mode here, riding the riddim with relentless intent. It’s sweaty, chaotic, made for late sets and soundsystem abuse.

Instrumentals included on both sides, giving extra room for exploration and dubplate mischief.

A bold second chapter from MUDLINE, Orbit Step builds on the promise of Happy Lovers and underlines Gibbon’s growing prowess in crafting versatile 140 tools with personality — while Trim, as ever, shapeshifts with ease.

"Mixes Of A Lost World", konzipiert und zusammengetragen von Robert Smith, ist eine neue Remix-Sammlung von Tracks aus The Cure's gefeiertem #1 Album "Songs Of A Lost World", das im November 2024 erschien. Das neue Set enthält 16 brandneue Remixe von Künstlern wie Four Tet, Paul Oakenfold, Orbital und vielen anderen. Die Deluxe-Edition enthält zusätzlich Remixe und Reworks von Chino Moreno (Deftones), Mogwai, 65daysofstatic und vielen mehr. Bei den Künstlern handelt es sich um Freunde von Robert, die die Songs in einer atmosphärischen und stimmungsvollen Art und Weise kreiert haben. Sie sind es, die diesem unglaublichen Album ihre Tiefe verleihen. Die meisten von ihnen stammen selbst aus Bands und begeben sich mit ihren Kreationen auf einen neuen Weg der Entdeckung.

2025 Repress

Mary Yuzovskaya unveils the 'The More You Know' remix EP on her vinyl-only Monday Off imprint, releasing 6th June 2025. Featuring reworks from Spain's ORBE, 90s US Techno legend Mike Parker, Judas Records' JUDAS, and Duna founder CONCEPTUAL.

First up, Token and Mote-Evolver artist and Orbe Records boss ORBE remixes 'Ittiologia', maintaining the original's hypnotism by amplifying its eerie soundscapes for a loopy, deep space trip. JUDAS, shrouded in mystery yet known for his self-released EPs on his eponymous label and releases on ARTS, then revisits 'Micologia', completely reworking its tripped-out sequences into short bursts of droning synth work.

Tresor, Semantica, and Prologue's Mike Parker also provides a version of 'Micologia', with the US Techno lynchpin slowing down its rhythm while its weighted synthlines bubble up between its kicks and rides. Closing out this remix package, Italy's CONCEPTUAL reworks 'Ittiologia', building tension via the original's dark and shadowy atmospheres but switching up its low-end for an electric, late-night feel.

Mary Yuzovskaya is a storyteller. Through delicate, masterful curation and a deep knowledge of experimental, trippy Techno, she weaves together sonic journeys - with 'The More You Know - Remixes' making for another excellent addition to her Monday Off label.

Repress.


An incredibly important but left behind album from 1994 originally on the Concrete label and now fully remastered & reissued. Three piece Opik, which consisted of Murray Clark, Chris Deverell and Robert Ellerby delivered some of the most bustling, pulsating, instrumental electronic music of the 90’s. Driven along by forceful emotional basslines coupled with melodic synths and the occasional epic vocal sample. Think LFO, think Orbital, think Leftfield, think Underworld and you are nearly there. Music truly ahead of its time.

Kerrie is back on James Ruskin's Blueprint for her third EP. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design. Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.



Irish-born, Manchester-based Kerrie is a multidisciplinary artist and DJ. Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops, Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020, and also debuted on Blueprint Records with her "Raw Regimen" EP.Truly welcomed to the Blueprint family, Kerrie delivered her second EP "Transient Belief" in 2023 and joined the crew at label showcases around the globe.

Since 2023 she has been fully committed to the studio and accommodating her increasingly busy tour schedule, forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

She's now back on James Ruskin's label for her third Blueprint outing. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Originally released in 1993, the ‘Brown Album‘ defied expectations and had a significant genre and cultural impact - showcasing the duo's scope and ambition. It was also met with widespread critical acclaim upon release, with NME awarding it 9/10 in their review, and it was chosen as one of Mixmag’s “best albums of all time”. The album's blend of diverse influences and its rejection of conventional norms helped to solidify Orbital's reputation as The Godfathers Of Rave, expanding the horizons of electronic music beyond local DJ nights.

Over 30 years on, London Records re-release this genre defying album – loaded with 23 additional tracks - rarities and previously unreleased material, including ‘Live From the Limelight, New York 1992’. Also includes a hardback book containing unseen photos, a track-by-track by Phil and Paul Hartnoll + interviews and essays on the making of the album by esteemed music journalist Andrew Harrison, a slipmat and flyer recreations from the era.

Vinyl masters cut at half speed, to ensure maximum audio fidelity.

Following the success of his ‘Love Dub So’ EP, Nick Barber’s Doof project returns to Mysticisms, delving back to his earliest recordings of his ground-breaking Trance project, presenting tracks from his previously cassette only release ‘The Love Mixes’.

A youth that had captured the psychedelia of Pink Floyd, Gong, Hawkwind and on to Psychic TV, as a self-taught guitarist, his first trip to India and Thailand in 1989 and witnessing the early electronic dance music at the Full Moon parties, had seemed rudimentary in nature compared to musicality of psychedelic rock.

Returning to England, the electronic / rock crossover of The Shamen’s ‘Progeny’ parties – featuring DJs like Paul Oakenfold and Mixmaster Morris with the live acts of Orbital and Ramjac Corporation – offered something new that turned his head, before finally finding his crew in the legendary squat / underground Pagan parties. There, residents Lol and Yaz first played the new electronic Trance sound, introducing Barber to the music of Eye-Q, Dance To Trance and the hugely influential Pete Namlook.

Recorded between 1990 – 1991, while living in Cambridge to study Philosophy, these are the first versions of tracks that formed the basis of his debut EP on Novamute, in 1993. Working with minimal equipment – an Akai sampler, Roland monosynth, Yamaha delay pedal, all sequenced on an Atari black and white PC and single MIDI output and then recorded straight to an 8-track Tascam cassette multitrack – the exuberance and rawness of the music are full of the excitement and naivety of youth.

Never intended for public release or initially even as a demo, Barber would play the music off the Tascam multitrack for friends at after parties. Dubbing a handful of cassettes himself and personally drawing the covers, around a dozen cassettes were handed out to mates. Eventually one copy found its way to Mute Records, who were looking to launch their dance offshoot, Novamute. Re-edited mixes of Gift Of The Gods and The Nagual appeared on his debut EP and history was made, before Doof went on to release for luminaries like TIP Records and Dragonfly and a career touring the globe was launched.

Remastered from the original tapes, this EP offers a snapshot of that time, the energy and joy of these early recordings is clear and overwhelming. Where Ambient, House and Techno met the birth of electronic Trance that truly stand up some 30 years later as originals then and now.

Trance The Mystery.