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Advanced Art was formed in Tampere, Finland, in 1985 by Jana, Pete, and Vince. Too young to be part of the first wave of Finnish groups inspired by German synth pioneers and New Romantics, they instead forged their own path and soon became pioneers themselves. For the next ten years, Advanced Art defined and dominated Finland’s small but growing electronic underground. They inspired a new generation of Finns to experiment with synthesizers, built an international cult following, and were deeply involved in the local scene—running clubs, organizing events, and performing at some of the very first warehouse parties in the country.

Although the line-up shifted over time, the group’s creative drive consistently came from the partnership between Jana, who supplied the voice and words, and Vince, who shaped the music with his machines. Together they defined the band’s distinctive blend of sharp electronics and lyrical vision.

After several cassette demos and two 7-inch singles, Advanced Art signed to Poko Rekords in 1991. The EPs Scar and Time raised their profile both at home and abroad, especially thanks to valuable exposure on MTV Europe’s 120 Minutes. Known for their perfectionism, they finally released their debut album Product in January 1993. On Product the line-up was Jana (lyrics, vocals), Vince (music, production), and Factor (percussion, studio work). Having moved through phases of synth pop, EBM, and industrial, the album showcased Vince’s vision of a unified sound and style more clearly than ever before.

Force followed in 1994, conceived as a multi-part concept album (Update / Live / Retro). Recorded with live percussionist PW joining Jana and Vince, it expanded on the groundwork of Product with new beats, ideas, and a sharper, more defined identity.

By 1995, exactly ten years after their founding, Jana and Vince decided to bring Advanced Art to a close on the band’s birthday, 13 October. Their run had been precise: one decade of creative output, ending with a legacy that laid foundations for Finland’s electronic scene.

Now, conveniently coinciding with the band’s 40th anniversary, Advanced Art present Forced Product. This double-LP set, fully remastered, features Product in its entirety, alongside the Update and Retro sections of Force, plus additional EP tracks and remixes recorded between 1991 and 1994 at “Audible Art” – less a studio than a concept, existing wherever machines and people met.

Limited to 450 copies, Forced Product comes in a gatefold sleeve with poster and sticker, offering a definitive document of Finland’s pioneering electronic cult heroes — a band that helped invent their country’s scene and left a lasting influence far beyond it.

DJ Support: DJ Spen, Tony Humphries, Danny Krivit, Simon Dunmore, Seamus Haji, Grant Nelson, Brian Tappert, Opolopo, Cj Mckintosh, Tedd Patterson and more...

Long-serving British house producer and hits maker Michael Gray brings his famously soulful sound to "On My Way Out" By Jamiroquai’s Derrick McKenzie Feat. Angela Johnson and it very much taps into a timeless vibe and old school disco feel. The grooves are nice and loose, the moog riff is smooth and fresh and the vocals are solar to the heavens next to mid tempo beats. High class Remix and lavish quality of the most uplifting music.

Global Pulse returns with a new EP from label head Rosati. This record is hand crafted with an effortlessly flowing sound that channels the early 2000s Techno energy to the fullest, infusing a fresh Amsterdam breeze and an Italian temperament. Lights down EP features 4 dance floor uplifting cuts , packed with warm chords and a solid dose of Chicago flavour.

Debut of Metapattern on KEY Vinyl.
Solid and Intelligent techno.

Discotchari is delighted to release a first-of-its-kind various artists compilation: Tehrangeles Vice (Iranian
Diaspora Pop 1983–1993), fully licensed from Taraneh Enterprises. The album is a groundbreaking exposé of
the vibrant subcultural hub of Tehrangeles (portmanteau of Tehran + Los Angeles), and the action–packed, true
story of the Iranian diaspora music industry. Featuring 12 tracks remastered by award–winning Osiris Studio,
lyrics and translations to all featured songs, original cassette covers, a 20+ page album note booklet by Dr.
Farzaneh Hemmasi and more! Sprawling from Westwood to Glendale across the San Fernando Valley, the
Tehrangeles scene was cultivated by the same producers and artists who industrialized the “golden age” of
entertainment in pre–revolution Iran and fled from the 1979 Islamic Revolution along with millions of Iranian
citizens. Through music and visual media, Iranian producers and artists working out of Tehrangeles have
engaged in what the Iranian government calls a “cultural attack” against the Islamic Republic for over 40 years.
The album title Tehrangeles Vice underscores the illicit nature and daring circumstances from which
Tehrangeles pop music was born and compares its legacy within Persian media to one of the most significant
crime–drama TV shows of all time. In the same manner that Miami Vice and its aesthetics had a dynamic
impact on sonic, visual and cultural trends in the United States and around the world, Tehrangeles media was a
shock to the systems of Islamic Republic ideology and Iranian expatriate communities. Listening to these songs
in hindsight, the contribution of Tehrangeles can be better understood as a triumphant effort to preserve Iranian
identity by realizing it in conjunction with prevailing music genres of the ‘80s and ‘90s, and to rebel against the
oppressive regime of the Islamic Republic of Iran through the most seductive of means: dance music.







g C1. Sattar - Khaak ("Home Land")

The Legacy Continues… Pure Garage is back with an exclusive 25th Anniversary Special Edition, created for the true heads, collectors, and DJs who know the value of vinyl.

A Different Kind of Compilation - Unlike the landmark CD series, this anniversary edition digs deep into the underground, unearthing rarities and iconic tunes that captured the essence of UK Garage. Many of these cuts change hands for hundreds of pounds on the resale market; now they’re finally available again, newly remastered.

Vinyl, Built for DJs - Each edition is pressed with only two tracks per side, giving maximum groove depth and unbeatable audio fidelity. Designed with vinyl DJs in mind, these are records built to be worked into the mix, not just left on the shelf.

Collector’s Item Value - This isn’t just another compilation, it’s a celebration of 25 years of Pure Garage, pressed with care and purpose. Expect limited availability, high demand, and guaranteed collectability.

- Iconic Pure Garage brand with loyal following.
- Highly collectible, limited-run vinyl editions.
- Features tracks long out of print, remastered to top quality.
- Essential for DJs, collectors, and garage fans alike.

Pure Garage 25 – A tribute to the underground. A future classic in the making.

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

Deruta Records opens its catalog with “Dela Secu” ,a two- track EP from acclaimed Romanian producer Cezar Lazar. The EP stands out as a musical manifesto, challenging the techno-house scene’s drift into mainstream quicksand.

“Solo 2305” introduces the EP with orchestral strings and a polymetric woodwind theme anchored by a steady groove, crafting a soundscape where tension and release unfold with precision. The woodwinds’ evolving motif lends a lyrical contour that completes the arrangement. “Yaka Yaka” turns toward intricate syncopations, its rhythmic complexity enriched by subtle orchestral inflections. A central polyrhythm drives the track, heightening its tension while adding depth to the groove.

Mastered by Vlad Caia and cut to lacquer by Mike Grinser, the tracks are crafted for the dancefloor, shaped by Cezar’s signature lyrical motifs that define his standing in minimal and experimental techno.

This debut sets the tone for Deruta Records: boundary- blurring and unapologetically underground.

Early support from Timo Maas, Paco Osuna, Ilario Alicante, Just Her, Adriatique, and more. Igor Vicente joins forces with Dka for the ‘Ecstatic’ EP this November, released via Belgian imprint Move Recordings, including a remix from Gregor Tresher.



Move Recordings is a Belgian electronic music label founded and helmed by veteran DJ/producer End-Jy (Jérôme Naujoks), known for his roots in the 1990s techno scene of Tournai and major collaborations with acts like Marco Bailey. Now reborn in 2025, the label returns with more powerful electronic music for the modern-day discerning listener. This time, it welcomes fellow Belgian DJ and producer Igor Vicente, renowned for his genre-blending style and releases on labels such as Mobilee, Hot Creations, and Visionquest, once again in collaboration with fellow Belgian DkA, who’s racked up releases on labels like Get Physical, Constant State, and Mau5trap Recordings—a striking sign of his ability to explore a variety of genres and styles.



The original version of ‘Ecstatic’ leads, featuring subtly blooming atmospherics, a nuanced synth hook, oscillating percussion, and raw drums, all building towards a climatic breakdown and a powerful drop in the latter stages. Gregor Tresher reshapes the original with his signature twist, extracting fragments of the track and fusing them with elongated bass grooves, heavily shuffled, crunchy drums, and intricately intertwined melodious elements.



‘Planets’ opens the B-side, a nine-minute excursion through squelchy acid bass notes, cinematic pads, robust drums, and chuggy arpeggio synth lines. The ‘Ecstatic (Dub Mix)’ then concludes the EP, shifting focus solely onto the raw groove and hypnotic melody of the original composition, as the name suggests.

Sea Oleena is the project of Montreal-based musician Charlotte Oleena. Drifting between ambient dream pop and atmospheric folk, her music is rich with textural warmth. With her softly whispered vocals and atmospheric tones, Oleena's music has been compared to acts like Grouper and Julianna Barwick, though in her more structured moments there are echoes of alternative pop icons the Cocteau Twins and Julee Cruise. Alded by her brother Luke Loseth, she released a stf-titled mini-album in 2010, followed by a second LP titled Sleeplessness a year later. Her third release, Shallow, arrived in 2014. Six years later, Sea Oleena returned with Weaving a Basket, a seven-track album that combines austere piano and guitar arrangements with ebbing swells of instrumentation and misty harmonies layered in a spectral chorus. Throughout the record, Oleena embraces the ambient backdrops of her surroundings - birds chirping, wind rustling, urban traffic - creating a close, intimate, and lived in listening experience. Released one year ago, in late fall 2020, these sounds capture the dual interiority and solemnity of that moment. The result is a wistful and impressionistic collection of songs, in turns haunting and hymnal.

“The Mire Chronicles,” the latest album by Spammerheads, was born from the difficult experience of the floods that hit Valencia on October 29, 2024. During this time, the duo lost part of their studio and actively participated in the cleanup efforts in their city.

This was an experience filled with a mix of emotions—shock, helplessness, fury, resistance, solidarity, and resilience, among others—that shaped what may be their best work to date. Written as a chronicle, the album explores the personal and collective states of people affected by tragedies or catastrophes. The Valencian duo
(through a carefully produced edition released by Banshees Records) offers six tracks (plus two digital bonus tracks) to remind us that despite the difficulties we may face, we must always fight to get ahead, get back on our feet, and not be swept away by the current.

This album is dedicated to the people and communities who face extreme situations and never give up.

Charlotte de Witte releases more hot news on her eagerly awaited eponymous self-titled debut LP, which drops November 7th on her KNTXT label. Fans already stirred to frenzy by two killer LP singles can now pre-order/pre-save the album digitally and on vinyl. She also reveals the cover art and track list in its entirety.

Already hailed by Vogue DE, BBC 6 Music, Resident Advisor, DJ Mag, Mixmag, Rolling Stone, Billboard amm., the acid-drenched, unstoppable lead single and set staple ‘The Realm’, and powerful organ-heavy cut ‘No Division’ (feat. XSALT) reflect the power of the full 11 track release. The ‘No Division’ vinyl was pre-released during her recent six instantly sold-out New York City shows in four days triumph. With one more LP single promised before the full drop, fans will have to wait and see which that will be…

After a fifteen year long career of propelling the techno scene forward and 25 standout EPs, the Belgian DJ & producer ‘started to feel the urge to embrace a format that allowed me to showcase my sonic identity in its entirety.’

Though the album is deeply personal – ‘these are tracks that move me, songs that carry me away like only club music and a night lost in it can’ – it’ll be a must-have for fans & techno/acid fiends. ‘Make no mistake, this is a true DJ album. I’m a club kid, always will be, and every track on this record makes me want to dance.’

It’ll do the same for other ravers. One more LP single to come… which of these is it to be?

Este nuevo lanzamiento de BAOX marca una pauta que creemos fundamental: continuar luchando
para comunicar nuestras ideas.

En un mundo tan saturado de propuestas genéricas, copias y grandes corporaciones, tanto privadas como gubernamentales, llenando el cyber-espacio y lo tangible con propaganda y silenciando ciertos temas actuales y queriendo controlar nuestra información, nos refugiamos en la música para intentar movernos sigilosos pero efectivos.

Todos sabemos el reto de seguir lanzando música en formatos físicos, tanto de producción como
económicos, pero esperamos que los sellos y artistas independientes no se den por vencidos y
sepan que no están solos, muchos seguimos intentando conservar esta cultura tan pura del disco,
desde las fábricas, las tiendas, distribuidores, los ingenieros de audio, los artistas e incluso
nuestras familias y amigos que nos apoyan.

Skylax Records proudly presents the first release in our brand-new archival reissue project: the SKYLAX COLLECTOR'S SERIES. This collection is dedicated to unearthing rare and forgotten underground gems, pressed back to vinyl with love and respect for the original sound. We kick off this essential series with a deep cut from one of the UK’s most respected techno pioneers: AUBREY – WAREHOUSE, originally released in 1997 on his cult imprint Textures (catalogue: TEX2). This classic slab of wax features five tracks that masterfully blend deep house grooves with raw UK techno energy: A1. Warehouse / A2. Rift Zone / B1. Shot / B2. Insult My Friend / B3. Space Lead. Aubrey, real name Allen Saei, started his journey into music in 1990 under the alias Panic, with his first release Voices Of Energy on Sheffield’s Ozone Recordings, later licensed by Buzz in Belgium. That same year, he launched his first label Solid Groove Records, which went on to drop over 30 vinyl releases in 13 years, with tracks licensed and supported by heavyweights such as Derrick May, Carl Cox, Adam X, Pete Tong and Terry Francis. Aubrey also ran four additional underground labels: Textures, Dark, DOT and Cheap Knob Gags. A true lifer, he became a hip hop DJ at age 13, discovered acid house at 16 after hearing Mr. Fingers’ Washing Machine, and released his first vinyl at 17. By 18, he had a residency at Central Park in Portsmouth (a key spot that hosted the likes of Luke Slater, Carl Cox, Frankie Bones, Joey Beltram, Grooverider…), and quickly became a fixture in the UK rave circuit, playing regularly at London institutions such as The Astoria, Turnmills, The Gardening Club, The Pirate Club, and legendary events like Energy and Raindance. He also worked behind the counter at import store Razzles, one of the most important dance music shops in the South of England, before joining Luke Slater at Jelly Jam Records. In 1991, he created Solid Groove to push his unique production vision—a journey that continues today through releases on legendary techno labels such as Metroplex and Ostgut Ton. Still fully active and devoted to music—DJing, mastering, remixing, and working in record stores—Aubrey remains a cornerstone of the underground. This reissue has been carefully remastered from the original tapes, pressed with the utmost attention to quality. A vital release for collectors, DJs, and all lovers of true UK techno and deep house. Strictly limited. No repress. Just music.

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

Bruce Springsteen's statewide ode Nebraska '82 is given ample extra space with a new expanded edition, as his 1982 acoustic masterwork is cast in renewed light by its use the forthcoming biopic Deliver Me From Nowhere, which documents the conception of the original album. Now with an extra 17 solo outtakes, including demos of 'Born In the USA' , 'Pink Cadillac', and 'Downbound Train', as well as the fabled Electric Nebraska sessions with the E Street Band, the new dubs illuminate the breadth of Springsteen's vision for a reconciled America, where Springsteen found much inspiration in the folk, literature and short stories of the heartland, particularly in those of Flannery O'Connor, childhood and young-adult memories. Notably, it was deemed by PopMatters to beo one of the first every DIY records made by a major artist, and soon sparked a DIY revolution by folk musicians the globe over.

Berlin’s Tal Fussman returns to Rekids with the ‘Walking on Mars’ EP, releasing 7th November 2025. It follows the Survival Tactics boss’ recent album on Binh’s Time Passages, as well as his ‘Definition’ (2024) and ‘I Feel’ (2025) EPs on Rekids, with Fussman’s fresh spin on classic House and Techno winning support from the likes of Raresh, Cromby, DVS1, Saoirse, Carista, Honey Dijon, and many more.

The ‘Walking on Mars’ EP opens with ‘Crystallized’, a cavernous cut exclusive to 12”, where Tal Fussman pares back his signature percussive style in favour of a rolling groove set against a deep, atmospheric backdrop. ‘Who’s Who?’ follows, its wild sequences and skewed drumlines colliding in restless motion. The title track, ‘Walking on Mars’, drives forward on hard-hitting drums that gradually unfold into a soulful house melody, setting the stage for ‘Knowledge < Machine’, a razor-sharp electro finale of snaking synths and an apt robotic vocal. Fussman’s versatility shines throughout, with the EP already winning support from Antal, Rene Wise, Marcel Dettmann, and Fred P. Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.

Evelyne/Masao bring TESTPATTERN to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project Testpattern is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982. While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called TOKYO ROCK TV. The album TESTPATTERN comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But TESTPATTERN is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song. TESTPATTERN will be available on both double LP as well as CD, and includes a fold-out poster with liner notes with lyrics. This album is dedicated to Masao Hiruma, who passed away in 2011.

Seoul-based DJ and producer DJ Botermelk launches his new vinyl label Venn with a solid four-tracker of club-ready tools.

Kicking off the EP, ‘Rubber Glover’ is a wonky stomper layered with hypnotic vocals and percolating FX.

A2 settles into a deeper, minimal groove with dubbed out synths perfect for a cheeky jaunt down the streets of ‘Milwaukee’.

On the flip, ‘Rearview’ takes on a more sinister tilt, with a rumbling bass line, menacing vocals, and a punchy drum workout to keep things driving forward.

Fresh off a run of standout releases on Mindhelmet, Limousine Dream and Sex Tapes From Mars, Bristol-based producer Boulderhead closes out the EP on a more optimistic note with his bouncy remix of ‘Rubber Glover’, driven by razor-sharp drum programming and pulsing drones.

Multi-faceted musician and co-founder of the Hungry Music label, Worakls, has unveiled the full tracklist for his stunning production 'Orchestra', an ambitious project filled with 10 brand-new productions, including recent single 'Cloches.'

Allowing his musical film influences to fully express themselves by incorporating them into his music, 'Orchestra' combines the grandiose feeling of album opener 'Nikki' with the melodic rhythms of 'By The Brook', and wistful yet percussive tones of tracks like 'Detached Motion.' Packed with cinematic elements throughout, Worakls explains his creative process, stating:

'Along the years, I have become more sensible to the emotions of film music, and I wanted to lead my universe into that direction. My aim is to mix in the emotions of this music with the freedom and energy of electronic music.'

With the original music composed to be specifically played with an orchestra, the album is accompanied by a tour of the most prestigious venues in Europe where Worakls will be accompanied by an orchestra formed of 20 musicians. Having recently kickstarted the schedule in Paris, the tour will take in a further 9 sold-out dates across France and Belgium throughout February, March, and April.

Spending the last ten years travelling the globe's most prestigious concert halls and festivals, Worakls' journey into composition started at the age of 3, learning the piano amidst his family of musicians. However, it was the 2015 launch of his 'Hungry Band' group alongside fellow frenchman N'to and Joachim Pastor which earned the French producer widespread acclaim. Proving his skills in composing film scores as well as electronic and orchestral productions, Worakls recently scooped the 'Best Original Soundtrack' prize at the Deauville Green Awards for Ushuaia and InFocus. The accolade was awarded to Worakls for his work on 'Une Oasis d'Espoir' alongside Nicholas Van Ingen & Jean Baptiste-Puchain.

More than a first album, more than a show, 'Orchestra' is the culmination of an inimitable artist whose inspirations touch all generations of music lover. After more than a decade of waiting, 'Orchestra' marks the first solo album from Worakls, and is set for a physical release in Spring 2019.

After a lengthy time of careful planning, the first Bünker Bliss release finally comes to life, and it couldn’t be in better hands. TBILISI-based producer DJ Astrobee steps forward with a record that reaffirms his status as one of Georgia’s underground pillars.

The music itself moves fluidly from razor-edged, body-jolting rhythms to shadowy synth-driven journeys - always carried by a tension that feels both immediate and entrancing. DJ ASTROBEE channels that energy into Bünker Bliss, setting a defining tone for everything that follows

“Round and Round” is a tale of depression and the brooding repetitious inner thoughts that drain us. Dubbed by producer Daniel David as “emo boogie”–partly as a joke–this newfound genre illustrates familiar personal struggles of the current age. This A-side rides the fine line of unraveling deep emotions, ultimately coaxing you to FEEL the groove.

Conversely, the B-side “Finely” feat. B.Bravo is a smooth rolling vocoder jam, a laid-back anthem perfect for a cruise or warming up a fresh dancefloor: a high to offset the low.

Zackey Force Funk
Born into this wild world in Tucson, AZ 1974, Zackey Force Funk found himself in and out of prison at the age of 17. Once released for good, Zackey ditched a life of crime to focus on raising his family and writing music. He thrived in the golden era of Myspace, producing eerie, gritty music on pirated software, and swiftly grabbed the attention of Kutmah–soon to be followed by a plethora of formidable producers. Zackey forged many collaborations later with the likes of XL Middleton, The Egyptian Lover, Salva, Lazer Sword, Lorn, Brian Ellis, Baron Zen, Daedelus and B. Bravo, as well as forming the group Demon Queen with Tobacco, and Delta Weapon with his brother N8NOFACE. As these tunes were scattered across various labels and on their respective collaborator's projects, ZFF continued to hone his style, delving deeper into the psychedelic future funk realm of which he has created for himself.

Daniel David
Daniel David is a Bay Area born multi-instrumentalist, producer, and singer based in Dallas, Texas. 1/2 of boogie funk duo The Pendletons, Daniel’s solo music is a genre defying mix of organic and electronic elements including psych, dirty analog funk, hyphy, jazz, and more.
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BLOOMY MEADOWS comes with deep and introspective melodic flows over INKSWEL's hard knock groovy boom bap on this fresh & organic 10 track collab hip hop album. Amazing features from LYRICS BORN, REGGIE B, PEOPLE WITHOUT SHOES, LEONARD CHARLES, ERIN BUKU, KULTAR AHLUWALIA, LEVEL MTINDO, and more.

Der Grammy-nominierte Schlagzeuger, Produzent, MC und Sänger KASSA OVERALL definiert die Grenzen zwischen Jazz und Hip-Hop neu. Verehrt von lebenden Ikonen und Underground-Trendsettern, begann er seine Karriere hinter dem Schlagzeug. Seine bahnbrechenden Soloprojekte haben ihn zu einer treibenden Kraft in der US-Jazzszene und darüber hinaus gemacht und ihn mit Unterstützung von Visionären wie Thom Yorke, Iggy Pop, Virgil Abloh, u.a. belohnt. Mit dem renommierten Doris Duke Artist Award 2025 hat Kassa seinen Status als führende Stimme des zeitgenössischen Jazz gefestigt.

Auf CREAM, seinem vierten Solo-Studioalbum, zollt Kassa seinen beiden Leidenschaften seiner Jugend Tribut – Hip-Hop und Jazz-Schlagzeug. Mit diesen Instrumentals verwandelt der visionäre Schlagzeuger und Produzent klassische Rap-Songs in zeitlose Standards, indem er das Kontinuum zwischen Jazz und Hip-Hop aus jedem Blickwinkel und ohne Abkürzungen erkundet und eine neue Interpretation des "Great American Songbook" bietet – eine Hommage an das reiche Erbe der afroamerikanischen Musik.

CREAM unterstreicht Kassas künstlerisches Können durch meisterhafte Arrangements, eine durchdachte Songauswahl und einen Sound, der seine Entwicklung nachzeichnet. Unterstützt von einer herausragenden Band mit generationsübergreifender Jazztradition verkörpert das Projekt seinen genreübergreifenden Ansatz und sein Engagement, den Jazz voranzutreiben.

Von Newport bis North Sea hat seine Band für ihre Live-Auftritte, die Gilles Peterson als "völlig surreal" bezeichnete, große Anerkennung erhalten. Er trat in der Tiny Desk Concert-Reihe von NPR auf und veröffentlichte mehrere von der Kritik gefeierte Mixtapes, die von der New York Times, NPR Music, The Guardian, Afropunk und anderen gelobt wurden.

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

Conoley Ospovat delivers again with another missive on his mostly solo platform, Continental Drift. With supporters like Move D, Daniel Bell, Snad, Gavin Hardkiss, & DJ 1985, he always seems to find himself in the record bag of underground tastemakers & adventurous selectors. On the Tokyo Techno Girl 12" he continues to refine his sound - ranging from the B-side dusty dub roller Culture Lag to the playful shimmer of the lead tune: Stars.

In between, the wistful title track is a shuffling ode to a faithful furry studio companion. Then classical house roots shine through on Jam bij de Vrij Paleis, catapulting a buoyant bassline groove to the fore with a deep spirit sure to grab fans of Smallville or Giegling. Do not miss this.

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’.

Mastered by: Keith Tenniswood at Curve Pusher, Hastings

Cut By: Frank Merritt at The Carvery, London

Distributed by: Rubadub, Glasgow

Artwork by: Timothy Saccenti, Nicholas Martin, Scott Fraser

Photography by: Kate Green, Javier Gonzalez, Scott Fraser, Timothy Saccenti

Solid red vinyl (300 copies), 30 coming with a limited edition screen print designed by Timothy Saccenti, Nicholas Martin and Scott Fraser, hand screen printed by Niall Greaves at Newbridge Print studios in Newcastle.

Utter presents Marshall Jefferson's previously unreleased meditation opus 'Yellow Meditation For The Dance Generation' alongside two remixes from French production maestro Joakim.

Marshall Jefferson: Chicago House music pioneer, creator of the anthemic ‘Move My Body’, an original collaborator of Adonis, Ce Ce Rogers and Roy Davis Jr., production mastermind of countless dancefloor classics such as Phuture’s ‘Acid Tracks’, Sterling Void’s ’It’s All Right’, Hercules’ ‘7 Ways’… and the soothing voice behind a 36 minute healing meditation guide. Yes, really.

But let’s rewind, slightly.

In 2017, Marshall was approached and encouraged by Ian ‘Snowy’ Snowball to write his autobiography and the pair set about putting Marshall’s account of the history of House music together. The book, ‘Marshall Jefferson: Diary of a DJ’ was published in 2019.

Following the book’s release, Ian and Marshall's collaboration continued and during the pandemic an outlandish idea arose to create a piece of music combining Ian's interest in meditation (he runs Club Chi specialising in Shibashi Qigong - a form of Tai Chi Qigong - which is a gentle form of movement therapy/exercise) and Marshall's willingness to experiment musically to see what might be possible.



The result is ‘Yellow Meditation For The Dance Generation’, where Marshall vocalises Ian’s lyrics in his instantly recognisable voice. The keen-eared out there may also recognise aspects of the music itself as a stripped back, lengthened and far mellower version of Marshall’s 1985 obscurity ‘Vibe’:

“I would take tapes to the Music Box and Ron Hardy would play my music. ‘Vibe’ was one of those tracks. I recorded ‘Vibe’ in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it that was taken from a club. The only person who I ever gave a recording of ‘Vibe’ to was Ron Hardy. The other people I know who had copies of the track were Gene Hunt and Emanuel Pippin (DJ Spookie).

"The original version of ‘Vibe’ was made using a Roland 707, Roland JX-8P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-‘Move Your Body (The House Music Anthem)’. ‘Vibe’ has the building blocks for ‘Move Your Body’ because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like ‘Move Your Body’.”



Still, Ian’s initial intention for ‘Yellow Meditation’ was function and it was designed to be a ‘Sequential Relaxation Exercise’ focusing on the Solar Plexus. Bearing this in mind, Marshall took a bare-bones and hypnotic approach to this particular re-recording of ‘Vibe’ so that the voice takes centre stage and listeners (hopefully) find themselves on a meditative journey. In fact, this long-form track was always intended as a private tool purely for meditation at Club Chi rather than released to the public - after all, Marshall had also created and released a more drum heavy, ’traditional’ club-focused 'Vibe Three' instrumental version for that very purpose - but a chance airing of the full 36 minute version changed its path.



Much like those 1985 ‘Vibe’ cassettes, Marshall had sent the track to a few close contacts, one of whom was Kieran at Phonica Records who aired it over the shop’s basement soundsystem. Its unorthodox nature caught the ear of colleague Alex (of Utter) and the seeds of a physical release were planted.

Eventually, with the full-version carefully whittled down to a vinyl friendly length of 24 minutes, full track parts in hand and a b-side to fill, Alex sought out one of his favourite producers to take up the remix reigns: Joakim. The Tigersushi co-founder and Crowdspacer boss has a long history of boundary-pushing remixes that straddle both dancefloor functionality and experimentation. This time the original material resulted in Joakim coming up with a number of ideas and he finally delivered two versions - one club focused (‘Vertical’), the other more introspective and meditative (‘Horizontal’), both of which appear on the final 12”.

The limited edition 12” also includes a download code giving buyers access to all of the vinyl tracks plus an 18 minute extended version of Joakim’s ‘Horizontal’ remix, its instrumental counterpart (for those who can live without Marshall's voice) and full 12 minute acapella (for those who can't!)


Alex

a A1. Yellow Meditation For The Dance Generation (Edit) 24:00
b B1. Yellow Meditation For The Dance Generation (Joakim's Vertical Remix) 9:09
9:05

To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

Come Clean is the the highly succesfull major-label debut and second studio album by the American rock band Puddle of Mudd. Originally released in 2001, the album's music was responsible for breaking Puddle of Mudd into the mainstream music scene. The album reached the Billboard 200 Albums chart peaking at #9. It has sold over 5,000,000 copies and was certified 3 times platinum by the RIAA.

The lead single Control' was also the theme song for WWE's Survivor Series 2001, which was critically acclaimed. The second single off the album, Blurry' turned out to be Puddle of Mudd's most successful single, reaching No. 5 on the Billboard Hot 100 and No. 8 in the UK Singles Chart, and also winning an ASCAP song of the year award. Drift & Die' was also released as a single spending six weeks at the No. 1 on the Mainstream Rock Chart. The fourth single, She Hates Me' reached the No. 1 spot on the Mainstream Rock Tracks chart and won the ASCAP award for most played rock song of the year.

In support of the album the band embarked on a European and American tour as the opening act for Godsmack and Deftones, and were also a part of the Family Values 2001 tour, alongside Linkin Park, Stone Temple Pilots, and Staind.

Available on vinyl for the very first time, Come Clean is pressed on clear vinyl, limited to 1.000 numbered copies!

Belgian iconic label USA IMPORT gets relaunch. First release: REISSUE by HARDCORE producer Liza N’ Eliaz.
Nicknamed “The Queen of Terror”, Liza N’ Eliaz was a well respected DJ, producer and label owner born in Ostend in 1958 and sadly passed away in Antwerp in 2001.
Growing up in a family of musicians, she studied classical music and learned to play the piano four hands with her grandfather, a conductor at the local municipal orchestra. Later she discovered the synthesizer and cassette recorder and joined new wave and industrial bands in the recording studio and on tour. During a concert in France in 1985 she met Yvette Neliaz, who became her companion, muse and partner and whose surname inspired her pseudonym. Liza was added as a reference to the byname given to transsexuals in Flanders.
In Amsterdam the couple became enthralled with the burgeoning acid house, new beat and techno scene centered around the club Roxy. Soon Liza N’ Eliaz started to make a name for herself, among others in the Parisian underground scene and as a regular guest at French Radio FG. As a DJ she mastered an incredible technique simultaneously mixing on three or four turntables. As a music producer she had an impeccable ear for sound, pushing up the pace to staggering heights and as a result taking part in changing the rules of electronic dance music in a new and booming global scene in the mid nineties: hardcore and speedcore.
Liza N’ Eliaz was a prolific producer working solo and with artists such as DJ Dano, Laurent Hô and The Prophet, releasing on labels such as Atom, Mokum and Bonzai. In 1997 she founded her own label in collaboration with USA Import Records dubbed Provision Records.
USA Import Records is proud to present the reissue of Initial Gain, the EP previously released on its sublabel Atom Records in 1992, the second in the Molecules of Music series. Adding two new interpretations by Toulouse Low Trax to three original tracks, a nothing else but logical connection is set between Liza N’ Eliaz’ early work and today’s genre bending electronic music scene.
For the record: Liza N’ Eliaz didn’t like her nickname “the queen of terror”. She didn’t intend on terrorizing anyone, commented Yvette Neliaz after her unfortunate passing away.

Mister Joshooa consolidates his delivery on Party store this time with a proper full length EP,
with 3 originals and 2 remixes from Delano Smith and Mass Prod that will keep the dancefloor
busy for a while.
A very solid release that goes from Bass to House to Techno, all solid club tools that will keep
the club busy, five bangers that all evoke the Party Store blueprint feeling: FRESH OUTTA JAIL
Strong of his release on Planet E and his Performances in the world's temple of Techno Music
between his own Detroit and Berlin, Josh is always on point with cutting edge productions that
go straight to the point, to party.
Cosmo is a timeshifting bass tool, so abstract yet so powerful, so empty yet so present that it
will allow you to take your crowd towards the most twisted cuts of club music, perfect to merge
Bass, Minimal House and Techno.
Delano Smith and Mass Prod both deliver a more 4 to the floor/ Club friendly version of Cosmo.
Delano takes the core groove of the track and brings it up on a monstrous Detroit House Tool,
heavy on basseline and chords, it flows like water on day 3. you just wanna play this more and
more, the more you listen to it.
Mass Prod delivers a darker, lower body versions of the title track, a Minimalistic after hour tool
where aerie vocals and percussions are rolling over a primitive House groove that will keep the
dancefloor simmerin for a while.
Adult use is a perfect party track to set the vibe and to get completely weird. Dub Acid Stepper
at his best, proper after party fuel, one to make people stand from couches and blankets in the
morning!
Ketchup popsicle is a pure Detroit Banger with psych vocals and digital acid at his best with full
on trancey effects and percussions, not for the faint of heart, a track that will take you to new
levels of party time!

Following on from Andres aka DJ Dez's well received last outing on David A-P's Hot Pot label, it is now veteran DJ and producer Marc Meistro from DC's Sol Power All-Stars who now brings the class. To kick off he brings his own spin to a Latin funk classic 'Mas Que Nada' and then turns the sunshine up to 112 on the shuffling samba sounds of 'El Platanal De Bartolo'. It's a pure party starter for Latin lovers and then comes some more drum-forward funk on 'I Wanna Go Downtown' with its rolling percussion and funky bass twangs. 'Make Your Mind Up' slows down to dubby disco bliss with leggy riffs teasing and pleasing. Four effective, charming essentials from Meistro.

Dantz Records presents its second release with Network Vol. 1, a compilation of various artists that continues the label's mission: to showcase and connect local, national, and international talent.
The album brings together eight tracks that explore different aspects of electronic music, reflecting the diversity and richness of the global scene without losing Dantz's own identity.
From more introspective pieces that lend themselves to detailed listening
to productions clearly intended for the dance floor, Network Vol. 1 offers a collective journey that brings together emerging voices with established producers.

Solo Jøns' new work for Musex Industries, scheduled for release on vinyl on 8 October, comes with eight tracks that explore the pulse of contemporary electronic music with a unique perspective and solid production. Between the raw rhythms, urban textures and a direct approach to the dance floor, the producer unfurls a repertoire that connects influences from the past with a fresh and forceful vision of the present. This LP moves between raw techno roots, industrial nods and moments of melodic exploration, consolidating Solo Jøns as a unique voice on the national scene.

DJ Support: DJ Harvey, Kelvin Andrews/ Balearic MIke (Down to the Sea and Back), Howler (Pikes/Totem Projects) Joe Morris (Shades of Sound/Pikes)

New vinyl only 4 track EP of reinterpretations on the fledgling Oswego Music label, from the mysterious Lovehandles.‘Unrequited Dub’ sees a quintessential eighties tune and Larry Levan favourite reframed as an epic 11 minute balearic slow jam- with scarce copies available digitally getting plays in recent months from Kelvin Andrews/ Balearic Mike (Down to the Sea and Back), Howler (Pikes/Faith/Totem Projects) Joe Morris (Shades of Sound/Pikes) and even Mr Harvey Bassett seeking out a copy. One for sunsets and heartbreak. Next up-‘Stars before the Sun’ is a recut of a thrift store Hare Krishna disco funk cut. WIth solina strings, drum breaks and a positive message to live for now. ‘Crystal Lites’ first on the flip; heads to the disco. Versioned here with whacked out pinging delays and reverbs. It’s been reworked before, but never like this. ‘It’s a Long Shot’ second on side two, is a 12” mix that never was- an eighties Balearic drum machine pop favourite,extended for djs. Its ethereal vocals, minor keys and spaced out fx perfect for late nights and early mornings. ‘The Drum-Set (skit)’ rounds things off here- a short and sweet reminder of the international, multiracial origins of rhythm. Perfect for mixtape intros and interludes.

Olof Dreijer (ex-The Knife) returns to Dekmantel with Iris, a new 4-track EP out this September, just in time for his North America tour. Featuring remixes by Nidia and Verraco, Iris follows his 2024 collab with Diva Cruz, remixes for Björk ft. Rosalía and Röyksopp, plus acclaimed solo EPs on Hessle Audio and AD 93.

Think breakdance-era energy, sound-humour, and body-synth mischief. Iris plays like a garden of sonic creatures—synths mimicking bodily sounds, chopped-up vocal textures, and ‘90s-style chord stabs inspired by Olof’s high school b-boy phase. It’s playful, raw, and weird in the best way.

With over two decades of shapeshifting behind machines and decks, Dreijer’s been a force in electronic music—from festival headliners across Europe to pushing the boundaries with his Oni Ayhun alias. He also co-founded Stockholm’s Bamba Club, a hub for progressive, percussive sounds.

Further recent highlights include co-producing tracks on Fever Ray’s latest album, producing Houeida Hedfi’s debut LP, contributing to projects by Planningtorock and Zhala, remixing Nine Inch Nails, Röyksopp & Robyn, and Emmanuel Jal.

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

“Vox Flora Vox Fauna” is an invocation in which ECE CANLI channels the voice of Earth itself. A ritual of breath, rebirth, bone, and buried memory. Like the most transcendent moments of Dead Can Dance, the soundscapes are primitive, tribal, atmospheric, and utterly cathartic: echoes of a wounded planet, mourning and resisting at once. They unleash the raw force of Gaia, vibrating through ancient rhythms and spectral chants that seem to rise from the soil itself. In an age of collapse, this is music as prayer, protest, and purification, an elemental cry from the Mother to all who still listen. ECE CANLI “Vox Flora Vox Fauna”. Ltd. Edition Album presented in ONE-OFF truly limited edition of 100 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes a printed innersleeve.

Following on from 2024's "Distant Landscapes EP" alongside Tensal, Amorphic returns (solo this time) to James Ruskin's Blueprint Records with a new ten-track album released digitally and as two four-track vinyl EPs released simultaneously.

Amorphic is a pseudonym of Scottish artist Vince Watson to explore more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels such as Token, Symbolism and Modularz as well as the two labels Vince runs himself: Amorphic and Morph.

With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best in that time including Laurent Garnier, Richie Hawtin, Carl Craig and inthis year, Vince will release an LP with Carl Cox on his label Awesome Soundwave. As a touring musician has been able to play at some of the world's best clubs as both Amorphic and Vince Watson, including a residency at Tresor Berlin, DC10 Ibiza with Carl Cox, Berghain and Womb Tokyo as well as being a current resident of 909 Festival in Amsterdam.



earth had been watched by the keepers of the secrets for millennia.
the human experiment had evolved into chaos.
the subjects had destroyed themselves and the planet they were gifted.
a few were taken, leaving a dying planet behind.
the rest of human history was deleted.
the gods sought a new order.
the year zero...

I See You, a self note, a reminder of the power and freedom that comes from opening ourselves to more.
Kat Rose beautifully penning about past pain and confusion and the vulnerability of new connection.
Originally a solo project, Kat connected with Mikekon and worked on connecting emotive lyrics with a hypnotic groove.
Together they shaped a layered soundscape that feels both intimate and immersive – making you think, feel and move simultaneously.
Additional remixes by Osunlade, Coflo and Ritmiq round out this must have release.

Pingipung proudly introduces Iko Chérie, the experimental pop project of French multiinstrumentalist Marie Merlet. The 7"" single "Ghosted Ghosters of the Holy G" offers a first glimpse into her forthcoming LP, Soft Centre (Nov 2025) - a hypnotic blend of dub-infused songwriting and blissful noise. On the flipside, French electro-dub visionaries Froid Dub unravel the track into a shadowy, slow-motion version, with a solid sub-bass, flickering delays and half-heard whispers. Trained in classical piano as a child, Marie Merlet shifted to teaching herself the guitar when she discovered the DIY indie punk scene. She then studied jazz singing and electro acoustic composition in Bordeaux before moving to London to play bass in Monade alongside Laetitia Sadier (Stereolab). With her solo project Iko Chérie, she crafts a surreal sound world of woozy incantations, Casio drones, and reverb-drenched guitars, woven with processed spoken-word samples. Beyond Iko Chérie, Marie Merlet tours globally and records with Gina Birch (The Raincoats) and is the guitarist in psychedelic cumbia outfit Malphino. She also hosts a monthly Soho Radio show championing women in music and curates a film & performance series at London"s Cinema Museum.

This album is not just a homage — it’s a gentle act of remembrance. A way of tuning in to what Lucier showed us: that listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or to quote Alvin Lucier himself: “I guess I’m trying to help people hold shells up to their ears, and listen to the ocean again.”

The influence of Alvin Lucier’s work on acoustic phenomena and the interplay between sound and space is difficult to overstate. His legacy continues to echo through the work of countless composers and sound artists today. Lucier’s music is marked by a sense of childlike wonder and sonic simplicity - shifting our perception from what we hear to how we listen.

At the heart of his compositions lies the sine wave: the purest, most elemental form of sound. Clarinetist Dries Tack pays tribute to this master of minimalism with an album centered around two works Lucier composed as intimate ‘In Memoriams’ for friends. Both pieces explore a single, elegant idea: the interaction between an instrumental tone and a sine wave.

Out of that interaction, ‘beatings’ emerge — a pulsating rhythm that accelerates or decelerates as the waves draw nearer or drift apart. Though built on the same concept, the two works are like mirrored reflections of one another: In Memoriam Jon Higgins, the sine wave glides in a slow glissando while the clarinet holds steady tones. In Memoriam Stuart Marshall, it’s the clarinet that dances around a fixed sine wave.

Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores collaborative practices across artistic disciplines in the broadest sense. In addition to his ensemble work, Dries curates solo projects that offer fresh perspectives on existing repertoire or give rise to entirely new works at the intersection of composition and improvisation.

The occasion of possibility runs through Ben Bertrand's new album Relic Radiation. It is all backdrops and layers. Hints of the emotive and the distant. Confronting the classical with what is new, looking for an expressive space. Melancholy, not melancholy. Contemplation on a midnight blizzard. Dust motes in a sunbeam. Sand dunes and microwaves.

Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.

As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."

2025 repress.

There are certain albums which shake the world immediately upon release, and others which come from far underground and whose shocks and aftershocks rise to the surface gradually over the years, gaining momentum and power. "Ten Dubs That Shook The World" is of the latter type. Since its original vinyl release in 1988, the prescient impact of this Australian homemade dubwise solo massive byAnthony Maher aka Sheriff Lindoh as become ever-more apparent and influential. With its dual island combination of Jamaican dub and UK industrial and post-punk, and the twinning of spaced electronic drums and effects with some very fine, superbly rooted bass lines, the tectonic "Ten Dubs" has proven to be a durable, doubly-solid shaker. This 2025 repress is dedicated to the original producer John Blades, founder of the Endless Recordings label, who along with Maher and Richard Fielding constituted The Loop Orchestra. Available on LP vinyl or CD; the CD version features bonus tracks. EM Records is also pleased to announce that we are preparing Lindo's first release since "Ten Dubs" was launched 37 years ago. From deep underground in Australia, rising, reverberating and resonating across the globe, "Ten Dubs That Shook The World" vibrates on.

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

The electronic music producer returns to his songwriting roots with a kaleidoscopic new album, featuring collaborations across genres and generations

Krewcial returns with more MJ from the vaults. Mixed from the original multi-tracks, always with love and respect for the original material.

The A side kicks off with The Jacksons 'Everybody' but feels and sounds like a solo Michael joint and references his “Get On The Floor” in the lyrics. The extended version gives plenty of room to all instruments to build up and join before MJ comes in.

On the flip we have the seminal 'Can’t Help It', written by Stevie Wonder and sampled by DeLaSoul combines the instrumentation and energetic drums from the demo version with the lead vocal from the album version. Adding a lush string arrangement which takes this version into TSOP territory and adds the disco vibe that works on today’s dancefloors.

Limited Vinyl Only Release act fast!

Peek of Normal is the new label from disco veteran Stevie Kotey, whose productions have graced the Bear Funk, Ambassador's Reception, Strut, Electric Minds and many more labels in the past. Pretty much its first move was to ink a deal with Dutch master Mark du Mosch, who'd been friends with Kotey since the latter moved to Rotterdam in 2005 and discovered his neighbour had similar tastes in disco. This new label's inaugural release, Sterling Melody, is quite the labour of love, and with eight tracks spread across a double vinyl pack collection lean more towards the coldwave, electro and synthpop of the early 80s rather than 70s disco. There are echoes of some pretty classic sounds here, from the Vince Clarke-esque throb of '77777st' and 'A5G Neowise' - not unlike the soundtrack work of mid period Tangerine Dream - to the slower motioning Italo-tinged shininess of 'Soluzio'. Our favourite is the title track itself, perky and full of sparkle, like the incidental music for a lost series about a mullet-clad, white linen suited detective who doesn't play by the rules, only much, much better. Definitely worth a Peek.

Original released in 1961

It's been over 60 years since the original recording, and now, this classic masterpiece is back in a monaural version with fantastic sound.

Hideo Shiraki, a key figure in Japanese jazz, left his mark with unique music and a strong presence. One of his standout works is "Matsuri no Gensou," recorded in 1961. This incredible piece takes a Japanese melody and transforms it into a cool jazz style, using a special arrangement with the koto. The collection also features exciting tracks like "Just One Or Eight" and the dynamic "Cherokee" with an amazing solo. Contributions from experts like Hidehiko Matsumoto and Yuzuru Sera add to the greatness. Even after 60 years, the music still feels fresh and passionate. Now reissued in monaural for the first time, this work stands as a timeless masterpiece that continues to captivate audiences worldwide. Enjoy the overwhelming sound of this significant piece in Japanese jazz history.

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

Modi: Three Days on the Wing of Madness is a 2024 biographical drama based on the life of renowned Italian artist Amedeo Modigliani.
Directed by Johnny Depp, the film stars Riccardo Scamarcio in the title role, with supporting performances by Stephen Graham,
Al Pacino, and Antonia Desplat. The film’s original soundtrack plays a pivotal role, blending evocative original compositions by The Tiger Lillies
with classic tracks from artists such as Charles Trenet, Augie March, Tom Waits, and The Velvet Underground & Nico.
The soundtrack is available as a deluxe 2LP vinyl set in a gatefold sleeve with imagery from the film
And as a 2CD Box Set with lift-off lid, featuring a 24-page booklet including exclusive notes from Johnny Depp and behind-the-scenes images