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Helene Rikhard had remained a hidden gem in the Norwegian electronic music underground for years, before she fully emerged on the international scene with these two critically acclaimed albums. Her sound is an ingenious mix of psychedelic disco, 80’s wave music, techno, krautrock, ambient and it truly operates in a world of its own. Drawing inspiration from the cosmic disco of Daniele Baldelli, the jazzy depths of Detroit techno and the esoteric dreamscapes of Laraaji, it’s astral music for astral people! Psychedelic to the core, but also warm, adventurous and highly original.

Her debut album Unpredictable Express is a dark, brooding masterpiece combining elements of cosmic disco, electro and techno Everlasting High serves as a beautiful, atmospheric counterpoint to its moody and mysterious predecessor, Feeling like a blissed out, hazy summer day, echoing childhood memories from Helenes youth, in the beautiful southern part of Norway. Everlasting High also sees Helene’s vocals coming more to the front. Mad Girl and Lions Eye are both beautiful, dubbed out synth pop with traces of 80’s synth, shoegaze, and reveals a fine-tuned pop sensibility, with a vocal style that’s sits somewhere between Kate Bush, Enya and Fever Ray.

Both as a producer and DJ, Helene’s style is easily recognized for her bold, genre-blending approach to electronic music. Mixing elements of ambient, techno, and experimental sounds, creating immersive, intricate and psychedelic tracks. Her DJ sets work the same way, blending Italo, High Energy and synth nuggets, effortlessly with strange, modern club sounds.

Infusing his cinematic, psychedelic musical vision into cutting-edge, bass-heavy electronics, Kutiman presents a euphoric club journey through UK garage, D&B, post-dubstep, and futuristic dance music.

With syncopated drums, deep basslines, and R&B-soaked vocals from standout artists like Jenny Penkin, Misha Sutherland and Odelya Illouz, the project bridges the gap between the indie electronica of Four Tet, Caribou, and Jamie xx and classic alternative club sounds.

Club music is emotional at its heart, and this release captures its essence perfectly; the peak-time euphoria, the moments of introspection & the times spent lost in the music.

Last locked in techno mode around 2005, Chris McCormack left the scene at peak power. He was one of the few producers actively pushing the dancefloor sound into the future while so much of the music became frozen in the past.

With a decade-long golden run mostly through his Embryo and Materials labels, a string of classic, era-defining remixes, his peerless UK Gold releases, and a small but timeless collection of electro and electronica donning the What Kind of Sound? name, Chris' contribution has been a cut above. Somewhere in the middle of all that came "Erase Techno", a strong contender for the best hard techno track ever written.

While that release was the one and only on his Blacklisted label, Blacklisted Mastering was soon born - a premium mastering service Chris has now run for over 20 years, counting the likes of Gary Numan and Max Cooper among its regular clients.

Venturing further away from club music and into the world of library music production, it seemed as though a fresh Chris McCormack release would never again materialise, but he has now, out of the blue, hatched a new full-length album. It is, as you'd expect, a key addition to his rich discography.

A range of moods underpins The Bones of the Old World, which plays out like a cinematic experience: existential pondering, grief and darkness gradually giving way to playfulness, gratitude and a reassuring hope for what is ahead. Majestic, evolving melodies, lush atmospheres, eerie soundscapes and turbo-powered drums form the foundation across 13 tracks. Gripping sound textures and detailed, twitching rhythms run through a blend of ambient, spoken word, electro, loaded broken beats and fierce-intensity techno. A bit like old times? Maybe just a bit like he'd never left.

Lock in to this hour-long odyssey from a crucial voice in electronic music. We're honoured and excited to welcome Chris back for his debut on Earwiggle, as well as the first artist album on the label.

“Nothing grows in the shadow of great trees,” said Constantin Brancusi when leaving Auguste Rodin’s studio. The same holds true in music, as Richard Raux’s journey proves. At the end of 1970, after recording the debut album of the legendary band Magma, which he co-founded, Raux set out to explore new musical horizons. Under the names Faarmadin and later Hamsa, he crafted a sound deeply rooted in jazz and improvisation, yet daringly open to experimentation.


A devoted admirer of Charlie Parker, Raux played bebop alongside René Urtreger and performed with Bernard Lubat’s Percussion Expérience. Jazz is a cornerstone of Hamsa’s iconoclastic approach, blending seamlessly with psychedelic and progressive rock, and the rich musical traditions of Madagascar, where Raux spent his formative years.


Hamsa is as much a personal endeavor as it is a “family affair.” Alongside his brother Patrice on guitar, Raux brought together a circle of friends—Alain Lecointe (double bass), Jean-Lou Besson (drums), John Faure (guitar), and Alain Pistre (percussion)—to record at the iconic Château d'Hérouville, just outside Paris, at the end of 1974. Yet the spirit of Hamsa is deeply Malagasy, rooted in the village of Andranomadio, which gives its name to the album’s opening track: a vibrant explosion of percussion and color. Africa’s presence resonates throughout the record, whether invoking Brotherhood of Breath (Chris McGregor) on “Johanna,” the Malagasy-infused work of Jef Gilson, or paying homage to John Coltrane’s Africa.


Far from being “just another fusion,” Raux’s music dazzles and transports. The saxophone-guitar unison on “Ahiri Lalita” captivates, the vocals of “Fahamadina” sweep you away, and the manifesto of “L’exploité” hits hard—yet with a liberating warmth. Sunshine and joy shine through on the album’s closing track, “Cultivate the Garden of Your Heart” (with Alby Cullaz on double bass and Jean Padovani on drums), capturing the ethos of Richard Raux and Hamsa—and now, ours too.

The Lost Hotsound Release… 40 Years in the Making

Some records are forgotten. Others become legends before they even get released. Back in 1985, two pioneers of the Dutch electronic dance scene, Michiel van der Kuy and Peter Slaghuis, joined forces to create Space Dream during the sessions for the now-cult Hot Dance Party compilation. The track was destined for its own 12-inch release on Hotsound Records, even receiving a catalogue number, 850122. But somehow, the record never happened. The music remained an unfinished demo, locked away for over four decades. Until now!

More than 40 years later, Space Dream finally gets the vinyl release it always deserved. A.P. Mono has carefully completed the original recording, preserving its authentic 1985 sound and bringing this long-lost piece of Dutch electronic history back to life. But the story doesn’t end there. When Michiel van der Kuy heard about the project, he decided to jump back into the spaceship himself, producing a brand-new, contemporary interpretation of his own creation. Joining forces with A.P. Mono and Orbital Force, the result is a four-track journey through the universe of spacesynth: the original version that arrived over 40 years late, plus three fresh, high-voltage reworks.

For the die-hard Hotsound collectors, the Laserdance devotees, the admirers of Michiel van der Kuy and those who still cherish the legacy of Peter Slaghuis, this is something special. A missing chapter of Dutch electronic dance music finally finds its way onto wax. Four cuts packed with cosmic synth lines, driving electronic rhythms and that unmistakable 80s DNA. Made for vinyl junkies, Italo-wave selectors and DJs who love their dancefloors somewhere between vintage space disco and modern electro. 1985 called. The future finally answered. Space Dream has landed. Forty years late. Right on time.

A key name from the golden era of French Touch, The Buffalo Bunch return to the spotlight with a selection of some of their most essential cuts, including their highly sought-after remix of Phoenix’s “If I Ever Feel Better” — a track that has become increasingly elusive on vinyl over the years.


Also featured is We In Music’s “Grandlife”, a cult early-2000s gem born from the same creative circle. Built on addictive disco-funk loops and straight-to-the-floor energy, it sits perfectly alongside The Buffalo Bunch’s signature productions.


Filtered house, disco, funk and raw groove collide throughout the compilation, capturing the unmistakable sound of a duo whose records have become firm favourites among DJs and collectors.


More than twenty-five years after their first releases, TMS Records brings these tracks back into circulation with a vinyl edition made for the dancefloor, the record bag and a new generation digging deeper into the French Touch legacy.

Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty.

In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy – along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano – a hundred-year-old Schimmel with magnificent resonance – new pieces began to emerge out of these meditative sessions.

As Messina says in the liner notes, "The idea of making a new album wasn't the driving force at all; what mattered was trying to reconnect with the 'freedom' I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection."

W.25TH / Superior Viaduct is honored to present Le api dell'invisibile. From the hazy drone of "For Florian" and the title track to the gentle swells of "Letter for an Absent Friend," the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina's earlier work.

The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: "We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible." It is a phrase that has long shaped the way Messina looks at his music – transforming lived experience into sound, making audible what normally eludes the eye.

Originally released in 2023, this highly sought-after release finally gets its much-needed repress in 2026. Original copies are already exchanging hands on Discogs for £50+, so make sure you grab this while you can — before the Discogs sharks get their grubby mitts on it!

Two Cold, a name synonymous with the number two and of course, ice cold beats. Even though the London based brothers haven’t actually released any music yet, their coming has been foretold by a growing chill that has permeated the dance music stratosphere.

Legs beginning to quiver and shake? That’s Two Cold.

Hips involuntarily gyrating in an attempt to stay warm? Two Cold.

Jaw chattering like maracas? It’s those frosty boys, you’d better believe it.

If you like your dance music to take you on a psychedelic journey through time and space, the DESERT LEATHER EP is for you.Winding passages that explore breaks, bleeps, bass and beyond. Genre defying influences snatched from every dimension of the dance diaspora.

Inescapable body-rocking beats that echo through your very bones so hard that even your ancestors have a boogie.

The DESERT LEATHER EP will expand your mind to the very edge of the horizon, where earth and sky meet and where all laws of nature are meaningless.

Two lads
Wicked beats
Original styles

Clever boys
Original styles… wait I said that already
Lots of bass
Delightful melodies

Two - as in there are two of them

Cold - as in their beats are ice cold

Liz Harris has worked with film closely since she began making and performing music live - both her own work, and that of various filmmakers - including a near decade long collaboration with Paul Clipson, and multiple live collaborations with Dicky Bahto and Takashi Makino.

On Music For Two Films About Water she presents two recent scores for short films by the artists Tanja Engelberts and Takashi Makino. Each film, as the album title suggests, is an exploration of water, though beyond that, each work and soundtrack varies - blending literal, improvisatory and impressionistic translations of the theme. Her accompaniment layers mercurial threads of mellotron, tape loops, Wurlitzer and field recordings.

Untitled (from We Exhale)

This piece was originally composed for the film We Exhale. In the film, artist Tanja Engelberts takes the perspective of the river itself, tracing how centuries of damming, channelling, and industrial pollution have reduced the Rhône from a living landscape to a hydraulic object—its breath slowly distorting as chemical processes break down what remains. Her work asks what a poisoned river sounds like when it exhales, confronting us with damage that operates beyond human timescales, already embedded in the river’s body. In her artistic practice, Engelberts investigates how landscapes that are no longer visible can be documented. Rather than excavating the past, she collects and rearranges what she finds on the surface—as a creative exposition of the present. Engelberts’ work places attention on the ‘here’ and ‘now’, allowing traces of the past to be recognized while possible futures can be imagined.

Untitled (from Constellation)

This soundtrack scores the film iteration of a project by Takashi Makino titled Constellation, a collection of works exploring how new meanings emerge through the arrangement of existing images, memories, and fragments. In the film, images, appearing and disappearing within mercurial water textures, are clearly present before the viewer, yet maintain their abstractness and imaginative nature until the very end—projected onto the screen and delivered to the viewer as material for forming new images. Fantasy and reality merge in oceanic, lucid dream. Inspired by the way ancient people connected scattered stars to create narratives, his work invites viewers to discover their own relationships between images and construct new meanings from what already exists. In his artistic practice, Makino captures video of ready-made objects including natural phenomena, humans, and cities, with various formats. In the editing process, he layers and configures them into the fields of mesmerizing, shimmering textures that distinguish his imaginative films.

Retro Addict Vinyl Collection - A new series is born.

Five years of parties. Countless memories. Now, the music lives on.

After five years of bringing legendary club sounds back to life, Retro Addict takes the next step: bringing the energy of the dancefloor straight to your record collection.

Introducing the Retro Addict Vinyl Collection: two double-vinyl editions curated byDJ Furax, celebrating retro classics, trance anthems and early rave sounds that defined a generation of clubbers.

The Red Edition features iconic tracks including Rave 93 and Stress, while the Blue Edition brings together dancefloor favourites such as The Jumper and Orgus 69. Two distinct collections, united by one shared passion: the timeless music that made club history.

Whether you're a longtime fan, a vinyl collector or simply want to relive the magic of the dancefloor, these releases are an invitation to rediscover the sounds that started it all.

The party goes on!

For the past five years, Retro Addict has brought the spirit of legendary club nights back to life, creating unforgettable events dedicated to the sounds that shaped an entire generation.

And this is only the beginning. The music continues, the memories live on, and the dancefloor is waiting.

Join us at our upcomingRetro Addict parties and keep the spirit alive.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

“Lazaar Vanderschrick? What in the hell kind of name is that?” After spending the better part of half a decade trying to wash every possible ounce of music industry dirt off of him, Victor De Roo returns to Stroom and Kontakt Group once again. But this time he comes bearing more than just music as the man has discovered yet another hidden talent and has now become Victor De Roo: Producer/DJ/Performer/Journalist/Teacher/Writer. For “Mauvaise foi (Feat. Iwza)” is the single accompanying his literary debut “Heil”, a tragi-comical novel set in the tristesse of Charleroi amongst desillusioned bar-punters, revolutionaries and self-proclaimed prophets.

The five members of Semakbelukar grew up in the late 1990s believing Malay music was cheap. They picked up guitars and amps and turned the volume up.

Lead singer David Hersya had played in a hardcore-punk band and worked as a sound engineer in Palembang, a busy port city on Sumatra’s east coast that once hosted the Sriwijaya maritime kingdom.

Around 2010, David and a rotating cast of bandmates grew bored with hardcore punk.

They swapped guitars and drums for mandolin and accordion. David began writing lyrics inspired by pantun (traditional Malay poetry) and set them to minimalist mandolin strums, then layered more mandolin and Malay drums as the recordings progressed. He drew vague melodies from his father’s record collection—1960s Malay music giants like O.M. Kelana Ria, Zaenal Combo, and O.M. Sinar Kemala.

David’s work as a muezzin at his mosque trained his vocal cords, which helped his studio performance. That skills helps him tremendously in the studio and as you can hear in the compilation, his range and pathos are the biggest draw.

Only about twenty people in their hometown bought CDs of their first three releases. Semakbelukar had already broken up when a Jakarta label asked them to record a proper LP in 2013.

What they recorded in two weeks in a makeshift Palembang studio in early 2013 changed their lives: a heady mix of bygone Malay styles and modern sensibility only they could make.
This collection combines eight tracks released in 2013 with earlier recordings from 2009–2011, including previously unreleased material.

Semakbelukar disbanded permanently after their last gig in Java that December.

Sometimes the most interesting stories in 80s dance music are hidden on the B-sides.

This one begins in Munich with two men: Manfred Alois Segieth, better known as Fancy („Slice Me Nice” and „Flames Of Love”), in the production credits he frequently appeared as Tess; Alfons Weindorf, musician, composer and producer, member of Zara-Thustra and part of the Munich studio environment surrounding the Weindorf family and Weryton Studios. For his electronic dance productions he used the names Elvin and Elvine. In the second half of the 1980s, Tess and Weindorf became part of an extremely productive Munich circle that also involved names such as Linda Jo Rizzo, Grant Miller, Sabrina Lorenz or Charlie Glass. Together in various combinations, they created original productions, songs and remixes that today form an unmistakable chapter of German Euro Disco. ZYX Records regularly called on this production world for new mixes and additional material and this is where our story becomes particularly interesting.

In 1986 ZYX decided to release „Tribal Stomp (Cherokee Nation)” by Psychic Interface in Germany. Psychic Interface was actually an American project by Jim Callon. But turn the German 12-inch over and things suddenly become much more German. The B-side, „Dancin’ In The Night”, was credited to Psychic Interface as well, yet the music itself came from an entirely different world. Written and produced by Elvine and Tess it was essentially a Munich production. The synths, the bassline, the melodies, the arrangement and that unmistakable mid-80s German Euro Disco character all point directly towards the creative partnership that would become associated with The Hurricanes.Around the same period another piece of the puzzle appeared. ZYX decided to bring back Den Harrow’s 1983 debut single „To Meet Me”, taking advantage of the enormous popularity Den Harrow had achieved by 1986. The new German release featured the „Hurricane Hit Mix”. And on the other side was something completely different – „Tropical Nights”. An instrumental written and produced by Elvine and Tess and this time officially credited to The Hurricanes. There was a logical reason for that. Putting an original composition on the reverse of a licensed or remixed single meant that the creators were not only remixers or producers. Their own composition was now part of the record as well, generating its own publishing and mechanical rights. It was a clever piece of 1980s record business. Two years later, in 1988, The Hurricanes would return with the much better known „Only One Night”, one of the finest examples of the Elvine & Tess Euro Disco sound.

Now Vintage Pleasure Boutique goes back to that earlier chapter. We bring together „Tropical Nights” and „Dancin’ In The Night”, two productions born from the same Munich team, and give each of them a new DJ-friendly interpretation. The originals retain everything that makes them special: crisp electronic drums, driving sequencers, huge synth melodies and that wonderfully unmistakable German take on Italo Disco. The new remixes take the same DNA onto today’s dancefloor. Longer builds, stronger transitions, more room for mixing and a subtle touch of contemporary italowave production, without losing the melodies, atmosphere or character of the originals.

Two hidden pieces of Munich Euro Disco history, taken out of the B-side shadows and finally given the dancefloor space they deserve. Two originals. Two new remixes. One fascinating piece of The Hurricanes story.

Repress

Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.

The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.

A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.

On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.

Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.

Adlibitum Tum Tunes is a division of MixCult Records

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

*Limited edition (500) reissue of The Orchids second album – originally released on Sarah Records in 1991- remastered with the 7” and E.P tracks from the time. Translucent pink*
“The Orchids have a lightness of touch, an autumnal and mellow fruitfulness, a clear-eyed pop nous. Imagine some nexus that takes in Felt, Orange Juice, The Beach Boys and The Go-Betweens”
-Stuart Maconie

“The Orchids can come on like esoteric angels high on Felt and Massive Attack”
– John Mulvey, NME

The early summer bloom of 1992 felt like it had been pollinated by a lot of sunshine-loving records from the year before, optimistic headrushes that embraced hedonistic bliss or at least a sweeter ride. There was still an element of bedroom wistfulness to singles like Higher Than The Sun, Nothing Can Stop Us and even Paris Angels’ Perfume but there was no denying the appeal that techno, rave and Bleep held, especially when it was microdosed. Bands were more willing to experiment with technology and producers, if not necessarily going for all whistles-blazing club bangers.

The Orchids, hailing from the suburbs of Glasgow were unlikely to ever emerge from their hood as contenders for a deal on Soma Records (which had begun in 1991 in that city) but they evidently wanted to stretch their boundaries beyond their introverted debut. Unholy Soul is somewhat breezier than Lyceum. It’s still laced with a Scottish melancholy but there’s more breathing space within the production. They’d hinted as much on their 12” ‘Penetration’ EP from 1991 and lovelorn songs such as Waiting For The Storm and Peaches are now spiked by absent-minded cherubs with an ear for the 3.a.m comedown.

As lead singer James Hackett says today: “Unholy Soul was the first time we had spent more than a couple of days in the studio, doing so after work. It was a thrilling period of creativity and we had most of the songs written but not enough. We didn’t worry about that too much though because with Ian Carmichael there was a new opportunity for studio generation. Also this was the first time we had heard Pauline (Hynds) singing with One Dove so we asked her to sing on some of the songs. We were obviously influenced by a lot of the music of the time but you can still hear it’s The Orchids at heart”.

The next year of course One Dove (with Carmichael programming) released their debut album - produced by Andrew Weatherall - on the Boy’s Own label. It felt like there was a lot of ideas being spun back and forth between artists and producers in the early 90s. If some of the records also sound very much of that time that’s no bad thing either. There was a lot of loved-up nostalgia for the 60s then so it’s no surprise that many of the records have a youthful exuberance coupled to a technological innocence, that’s the charm.

The Style Point EP by Lavan showcases one of Berlin’s most refined groove specialists.

Originally from London, Lavan has both the elegance of classic deep house and the unmistakable swing of old-school MPC-driven UK garage running through his veins.

The title track, “Fierce,” perfectly captures his approach, striking a seamless balance between house and garage. Another Berlin legend, Dana Ruh, delivers a deep rework of the original, a timeless groover, showcasing exactly what she’s known for and what has made her an institution on the international house music scene.

The B-side opens with another flowing gem, “If U Bad,” a track that fits effortlessly into any moment of the night. Closing things out, “Today” reveals a darker side of Lavan’s sound while perfectly reflecting the core identity of Salty Nuts.

Limited to 250 copies. Vinyl only

Trick or Treat was composed like a game, made up of samples and personal musical stories, twisted in all directions, and spat out monstrously in the imaginary world of Halloween. A trip into a world where the familiar becomes strange.
Trick or Treat' is available in two versions, with two different covers.. A turquoise EP limited to 100 copies and a black EP limited to 400 copies.

Four-track techno EP by François X on XX LAB.

Rooted in Black American dance music and shaped through European club culture, Bound States combines hypnotic rhythms, warm textures and driving low-end into a cohesive, contemporary club record.

From the dense atmospheres of Bones & Harmony to the driving energy of Type X, the EP unfolds as a journey designed for the dancefloor while remaining deeply personal.

A little over a decade on from his debut album released on the label, Wah Wah 45s are very proud to present two brand new remixes taken from Afrobeat AmbassadorDele Sosimi’s much celebrated LPYou No Fit Touch Am. In the years that have passed since the album’s release, a number of producers and DJs have re-worked and reimagined cuts from the album, most notably the much reveredMedlarand his irresistible take on the title track.

In anticipation of Dele’s long awaited follow up album in 2027, and closing off theYNFTAera, we present to you two brand new remixes of tracks taken from this timeless LP.

Mysterious London based producer and DJbrekkyt(erstwhile known as The Breakfast Triple) is up first with a typically rhythm-focused, bruk infused and bass worrying re-work that takes Dele’s ever popular title track to a brand new audience, perfectly timed for the current broken beat revival. Brekkyt’s recent cheeky re-works for Raphael Saadiq, Mis-Teeq and most recently for Kyla Kilzer & Max Noir on Tru Thoughts Recordings have seen his music receive some serious heat.

On the flip, Portuguese producerMeithtakes album favouriteSanctuarydeep into Afro-tech territories creating an irrepressible groove tailor made for the big rooms this summer. The Lisbon based beat-maker has previously released club focussed tracks on labels like Kazukuta and Sondela Records.

This pair of dance floor destroying remixes will be available on hand-stamped, white label vinyl.

David Rodigan MBE and Defected Records announce the release of House Of Roots; a specially curated three-track remix project by the legendary tastemaker, DJ & broadcaster, reimagining Defected classics as they’ve never been heard before.

House Of Roots has been born out of a partnership that’s blossomed since David first touched down at Defected Croatia in 2025, with his performance becoming one of the defining moments of the entire festival. After returning to Croatia for this summer’s festival finale, Rodigan - this time armed with the House Of Roots remixes - delivered another landmark set, underlining exactly why he remains such a revered DJ & selector.

The House Of Roots project reimagines Defected’s rich catalogue through the lens of reggae, dub and drum & bass in a celebration of music genres that have continually inspired one another throughout the decades.

Enlisting legendary drum & bass originator Shy FX, jungle maximalist CLIPZ, and fabled dub reggae producer & engineer, Prince Fatty, to remix three of the label’s seminal records - Fish Go Deep’s 2006 classic ‘The Cure & The Cause’, Soul Central’s ‘Strings Of Life’ (2004) and The Vision’s ‘Heaven’ (2019) - House Of Roots marks some of David’s most important and intriguing curatorial work yet.

House of Roots comes as a limited edition 7” box set including the 3 remixes plus exclusive dubs and instrumentals plus a 16 page sleeve note collectors booklet.

DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.

Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.

There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.

Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.

For DAYBREAKERS, this is a proper fit. Buy or cry.

DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.

Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.

There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.

Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.

For DAYBREAKERS, this is a proper fit. Buy or cry.

Nach zwölf Jahren meldet sich Morten Harket, die unverkennbare Stimme von a-ha, mit seinem bisher persönlichsten Soloalbum zurück. Human Grace ist ein tiefgründiges, intimes Album, das den gewohnten Stadion-Sound a-ha’s gegen organische, emotionale Klänge tauscht. Von Harket selbst als „Feier des Lebens“ beschrieben, entstand das Album in enger Zusammenarbeit mit langjährigen musikalischen Weggefährten und seiner Familie – darunter berührende Gastbeiträge seiner Töchter Tomine und Karmen Harket.

Aura Safari are taking it back to the source with new album Spaced Out Disco on Hell Yeah. The eight-track record is inspired by the iconic sound, feel and studio techniques of the original 1970s disco and was played entirely live with real instruments.

Aura Safari are Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo, and they have been releasing EPs, LPs and remixes on this label since 2020. They have long been entrenched in the local scene of Perugia and are live specialists with a unique chemistry that allows them to translate funk, jazz, soul, disco and house into their own timeless and universal musical language.

Integral to the album is the live performance aspect. All the band members hooked up in the studio and played together, often laying down tunes in one take and then adding some post-production for a modern edge. Disco, dub, jazz-funk and instrumental grooves define the sounds while the creative use of classic delay, echo, spacey FX and dubbed out arrangements lead the record the same Jamaican character that inspired original dub-disco pioneers like Arthur Russell, the Compass Point Studio and labels like Prelude and West End.

'Starlove' opens with low-slung grooves and squelchy bass that twist you inside out before 'Spaced Out' shimmers with astral melodies and synths that rise like a rocket disappearing into the night sky. Funky claps and flashes of Dexter Wansel-inspired soul complete the picture, while 'Santa Barbara' eases the pace with a brain-bending dub workout full of weighty low-end and warm, sun-kissed chords. 'Cosmic Affair' lives up to its name, gliding through the galaxy on uplifting guitars and slinky drums, all wrapped in irresistible retro-futurist magic and lit by the moon.

'Disco Mirage' turns inward with simmering bass, dusty open hi-hats and hazy synth trails drifting through effervescent jazz keys that rise like champagne bubbles. 'Magik Space Dust' stretches towards the stars with soaring leads and knotted bass locked into an effortless groove.

Spaced Out Disco does exactly what it promises and plots a richly imagined journey that never stops looking towards the stars while keeping its feet firmly on the dancefloor.

FORT is launching a sub-label, NOCOWALNYA, and introducing its debut release.

The new label's guiding principles are authenticity, the personal taste of its founders, and a synergy of opposing sensibilities: melancholic romanticism and raw, uncompromising rhythm. The first release is the EP NOCOWALNYA 001, recorded by three key figures of the label: Nocow, Valentin Fufaev, and DJ Designer.

NOCOWALNYA deliberately steers away from the canons of classic techno, trance, or house. The label is built as a space for artists ready for unconventional forms and bold experiments, a place to express their individuality.

The sub-label's visual symbol, a logo of two young men standing on an anvil, sums up the idea perfectly. It's a manifesto of duality: fragile sensitivity set against a cold, industrial beat, romantic motifs joined with dense, hard-hitting sound.

It's fitting that the sub-label takes its first step with its three founders, who stood at the origins of FORT. NOCOWALNYA 001 distills their shared vision and shows how different creative approaches can come together as a single monolith.

The result is a techno-trance hybrid where driving energy meets sincere musical drama. This release doesn't just open the new label's catalogue, it sets the direction for every single and mini-album to follow. The release will come out in two formats: digital and vinyl.

Packaging: 1 X Black 140 grs vinyl, gatefold sleeve reversed board, black dust inner sleeve, marketing sticker, marketing sticker

- Alewya's acclaimed debut album Zero - digitally released June 2026, establishing her as one of the UK's most distinctive voices in alternative music
- Ethiopian-Egyptian heritage meets London's underground, blending electronic, R&B, percussive and experimental influences into a distinctive sound and visual world.
- A deeply artist-led record, developed over three years and built around themes of identity, instinct, freedom and self-discovery.
- Physical release November 27th :

c. LP Black

Packaging: 1 X Black 140 grs vinyl, gatefold sleeve reversed board, black dust inner sleeve, marketing sticker, marketing sticker

- Alewya's acclaimed debut album Zero - digitally released June 2026, establishing her as one of the UK's most distinctive voices in alternative music
- Ethiopian-Egyptian heritage meets London's underground, blending electronic, R&B, percussive and experimental influences into a distinctive sound and visual world.
- A deeply artist-led record, developed over three years and built around themes of identity, instinct, freedom and self-discovery.
- Physical release November 27th :

c. LP Black

QE's I'm Back EP sits between oldskool vibes and deep raveish techno, and it flows. Five tracks, deep and rolling, with an oldskool feel in the groove and a rave pull running underneath. On a floor it plays as one long stretch rather than a run of peaks. What's Next? and This is Next open it up, then I'm Back, Set You Free and Release Yourself keep the movement going. Nothing hurries, and nothing needs to. Steady, deep, and made for staying inside the groove.

Terramar is the confluence of Causa Sui and SoCal guitar genius Isaiah Mitchell. Recorded during a week-long immersion in the El Paraiso studio in Odense, Denmark, the group manifests deep currents of psychedelia and kosmische, riding them into a heavy, uncharted swell of sonic exploration.


On the group's self-titled debut album, Isaiah Mitchell – best known for expansive, high-powered guitar solos in Earthless – brings previously unrecognized sides of his musical personality to the surface. And what better assemblage for this endeavor than the El Paraiso Records crew – known for their genre-defying deep dives that explore krautrock, spiritual jazz and even electronic minimalism? The result is exactly what one could have hoped for in a trans-atlantic session like this: a collaboration where each party reveals new angles in the other's musicianship. A joint venture that manages to bring something new to light by paying homage to traditions of the past: Californian psychedelia, German kosmische and Scandinavian commune rock.


The group flies high on tracks such as ”Swell” and the scorching ”Melted Mountain”, but pushes into deeper experimental territory on ”Ritual De Fantasmas”, ”Caterpillar” and ”Borrego”, weaving synthesizers and studio manipulation into the fabric of their sound. Terramar is a true psychedelic delight.

Terramar is the confluence of Causa Sui and SoCal guitar genius Isaiah Mitchell. Recorded during a week-long immersion in the El Paraiso studio in Odense, Denmark, the group manifests deep currents of psychedelia and kosmische, riding them into a heavy, uncharted swell of sonic exploration.


On the group's self-titled debut album, Isaiah Mitchell – best known for expansive, high-powered guitar solos in Earthless – brings previously unrecognized sides of his musical personality to the surface. And what better assemblage for this endeavor than the El Paraiso Records crew – known for their genre-defying deep dives that explore krautrock, spiritual jazz and even electronic minimalism? The result is exactly what one could have hoped for in a trans-atlantic session like this: a collaboration where each party reveals new angles in the other's musicianship. A joint venture that manages to bring something new to light by paying homage to traditions of the past: Californian psychedelia, German kosmische and Scandinavian commune rock.


The group flies high on tracks such as ”Swell” and the scorching ”Melted Mountain”, but pushes into deeper experimental territory on ”Ritual De Fantasmas”, ”Caterpillar” and ”Borrego”, weaving synthesizers and studio manipulation into the fabric of their sound. Terramar is a true psychedelic delight.

The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.


This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.



After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.


“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith

The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.


This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.



After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.


“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith

Teeing up the next dynamite release on Brighton-based label Murmurations is prolific UK producer Michael James. Spread across four cuts, the fifth vinyl release from the label - MURM005 - continues to focus on essential, stripped-back, driving dancefloor energy with a nostalgic edge. The Moving Music founder delivers exactly that throughout his four excursions here, laced with infectiously swung grooves from top to bottom, synonymous with his sound. “Ultra Realism” kicks off the record with heady peak-time action, its enormous elastic bassline winding itself around intricately arranged, skippy drums, rarely letting up as the track evolves.

Dubby, golden-era tech house sounds arrive on the A2, titled “More Of That”, a fitting name for this after-hours future anthem. As we land on the B-side, we’re greeted by “Lazy River Express”, another slick encounter with a distinctly charming attitude to it. Hard not to move to this one. Rounding off the EP is another example of punchy, rolling action, begging to be played loud. “Stargazer” leaves us with a crisp yet dreamy finish, rounding off the EP with another standout cut for the record bag. In its early days, Leo Christopher has managed to build a sought-after catalogue with the Murmurations imprint, and long may that continue. The curation is always one step ahead, and the label has very quickly become a buy on sight imprint for devoted diggers. An exciting combination here as a growing label joins forces with a staple name on the UK circuit.

12" , transparent vinyl with black dots

pdqb has been spending an increasing amount of time on the Blue Planet lately. From his perspective, this was never going to end well.
With an intelligence operating several evolutionary levels beyond anything currently available to humanity, pdqb identified the problem almost instantly. Humanity's operating system had developed a number of serious inefficiencies, and the planet was clearly heading in the wrong direction. Even artificial intelligence would not be of much help here: created by humans and trained on human knowledge, it remains, in pdqb's estimation, a rather primitive form of intelligence compared to the cognitive systems he carries within himself.
So pdqb has decided to intervene - personally, and in human form. His identity will remain undisclosed. His intervention, however, will be unmistakable: a brief intelligence boost, followed by approximately 10.000 years of world peace.
It will be fine.
Contact Imminent contains three transmissions from pdqb himself, carrying his characteristic Electro-Cognition signature sound - three pieces of evidence that the future is still worth saving.
For the B-side, pdqb selected two Earthlings whose music he already appreciated, but whose name was particularly appropriate for the occasion: Extrawelt.
Because after the intervention, this planet will no longer be what it was. It will not be the old world, nor simply a new one.
It will be an Extrawelt.
A slightly improved version of reality, with another 10.000 years to get things right.

5. VITAL SALES POINTS:
" transparent vinyl with black dots
" mastered by the infamous Andreas LUPO Lubich
" cover artwork by SUPERFLEX
" two remixes by Extrawelt

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

2026 Repress

Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.

Cooper Saver joins the Dream Space family for his first solo EP in 6 years, which was well worth the wait.

Born in LA and now residing in Squamish BC, Cooper ran the infamous Far Away parties in his home city through the mid-to-late 2010’s. Over the past decade, he has released exceptional music and remixes on labels such as Hivern Discs, Permanent Vacation, Internasjonal, DFA and more.

Working often as a collaborator, his recent projects alongside Chris Macintyre as Inner Flight and Night Cycle, and as part of hardcore punk band Self Arrest, all hold up to the same high quality output.

After being in contact with each other for years, it feels like a full circle moment to be working with Cooper and sharing more of his music with the world.

Across all four tracks he dives deeper into the new progression of his sound. From the peak time energy of Depths Of Reality and cosmic radiance of Be Alive, to the understated and shimmering B side of Glider / Running In Circles, this one’s an essential.