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Cosmic JD kicks off the EP with the subtle and elegant Just Smoked it I Don't Know, a track ideal for the warm-up phase, combining delicate melodies with raw drums.

Ildec's Give Me is a hypnotic and analogue-sounding track with bass lines and repetitive electro elements that maintain tension.

Felipe Valenzuela & Dani Casarano with Odyzer, a track designed to address the peak of the night where drums and bass intertwine with surprising variations.

Dani Casarano & Matías Puente with Bass Mod, a composition that expertly captures the essence of the 80s, fusing percussion with immersive bass and atmospheric pads to create a thoughtful ambiance.

Grisline is a fresh-born label exploring the balance between light and shadow — a sonic playground where genres blend, bend, and collide. Rooted in the pulse of electro, techno, and house, we’re drawn to contrasts, emotions, and movement, always in search of unexpected harmony.

Our first release comes from Fabrega & Christian, delivering four original tracks that chart a dynamic journey across the dancefloor. The title track, Dark Chai Bowl, opens with a groovy electro cut full of harmonic twists and crisp synth work, setting the tone for the ride ahead. Onda Vampiresca dives into darker territory, layering driving rhythms with flickers of brightness — a hypnotic blend for losing yourself in the moment. On the flip, Lilac Lebal ramps up the intensity with a percussive, floor-focused tool built for peak-time energy. Finally, Lampin’ (featuring Ku$h) winds things down with a smooth, atmospheric break — perfect for the after-hours or sunrise sets.

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

Award-winning producer and composer Giorgi Koberidze offers up a head-spinning debut of Georgian modern classical music shot through with 360° electroacoustic textures.

Giorgi Koberidze is an electronic and classical music composer from Georgia. He currently serves as a professor of music at Tbilisi State Conservatoire, as well as at Ilia State University, and the private music school "303 Herz". Giorgi's work is rooted in the Georgian musical tradition, cross-pollinating indigenous instrumentation with electronic and western classical timbres. He recently won first prize in the Tbilisi Conservatoire Composers Awards, and received Georgia's most prestigious cultural gong, the Tsinandali Award.
The Album was premiered in Georgia at the Kutaisi Film Festival, and later showcased at the Tbilisi Film Festival. Working from graphic scores, Giorgi's ensemble includes strings, woodwind and traditional instruments from the Caucasus (doli, chuniri). Fleeting voices, field recordings and skittering percussion converge to paint a storied map of Tbilisi, and its surrounding terrain of forested polyphony and microtonal peaks and crags.

Each listen of the album is projectively rich, like a dizzying series of sonic inkblot images. The piece is designed to be absorbed in the surround sound of darkened movie theatres, conjuring a multiverse of narratives in the half-light of sensory acuity. At home, Giorgi invites listeners to set aside time to experience the record in a dark, comfortable space absent of external stimuli.

This album was made with the support of the Tbilisi State Conservatoire. The recordings were funded by Nicolas Jaar. Thank you. We are beyond proud to present this incredible project.

Recommended for fans of Pierre Bastien, Roméo Poirier, Jan Jelinek.

DJ Support: Rossi., Chris Stussy, Marco Corola, Joseph Capriati, Michael Bibi

Jansons makes his debut on HMGRWN with "Yeah Yeah Yeah", a stripped-back, groove-heavy roller with a captivating vocal hook... A peak-time track that's been a huge play for ROSSI. in recent months... The track is already gaining huge support in the run up to the release, with artists such as Chris Stussy, Marco Carola, Joseph Capriati, Michael Bibi, Franky Rizardo and many more...

There’s a reason they call it deep House. On 'The New Jersey' EP, DJ Romain doesn’t just nod to his roots, he digs into them, scooping out a warm, rhythmic core that pulses with sweat, memory, and reverence. This is not a revival or a pastiche; it’s a love letter etched in drum machines and delay, from a producer who’s lived the lineage.

A fixture of late-’90s NYC dance floors, Romain cut his teeth in the city’s thumping underbelly, learning from the likes of Todd Terry and later carving his own signature into the genre’s sidewalk. Across these four freshly cut tracks, Romain channels the same urgency that once drove dance crews, celebrities, and nightlifers alike into motion, and still does.

Lead track “Hello New York” is a no-nonsense DJ tool, a serrated slice of big room energy built around snapping snares, a jackhammer kick, and a spoken word vocal that bristles with pride and uplift. “Put more cut in your strut… pride in your stride” - it’s part mantra, part mission statement. “But It’s Alright” flips the vibe, conjuring up basement jazz sessions through dusky chords and a muted, plucked bassline that slinks like a late-night subway ride.

On “Check Your Pockets,” the energy turns inward and abstract, a woozy, psychedelic House jam that feels like dancing through a heatwave haze. He wraps the record with “Deep Inferno,” a peak-time burner full of sticky Afro-funk polyrhythms, clashing vocal chops, and steam-pressure percussion. It’s unhinged, hypnotic, and gloriously raw.

Having revisited his archive with ‘The Lost D.A.T.S.' series, Romain returns to Hard Times not as a nostalgia act but as a flamekeeper - still innovating, still sweating, still firmly on the floor. The New Jersey EP is a love letter, yes, but it’s also a reminder: House never left. It just got deeper.

After years of sonic exploration with guitars and electronics in addition to other projects (Lost Girls, Moon Relay, Jenny Hval), Håvard Volden has returned to his main instrument with renewed curiosity and a new band. On this album, the guitar takes center stage, with alternative tunings and an exploratory approach forming the foundation for a new musical direction. The result is a beautiful album with an honest and organic sound, and the perfect blend of jazz and alternative pop/rock. The music is rooted in jazz but also draws inspiration from early tape music—think Joe Meek, and Luc Ferrari—as well as folk traditions from all over, new age, and the raw energy of experimental rock, likeVelvet Underground. The result is a collection of instrumental compositions where guitar, synthesizers, bass, and drums interweave in dynamic interplay. At times, the pieces are loose and expansive; at others, they are rhythmically precise and compressed—like instrumental pop songs with an open structure. And to add to the pop cultural pallett; the cover photo is taken on tour with Jenny Hval in front of the ”Twin Peaks” mountains. With music that thrives on dynamics and improvisation, most of the album was recorded live in the studio. This album is an exploration of the guitar’s potential, where echoes and tape machines extend the instrument’s rhythm, resonance, and tonality. A playful, dreamlike, and uncompromising record that embraces the power of collaboration.

Republica is the debut studio album by English band Republica, originally released in 1996. Three singles were released from the album: "Bloke", "Ready to Go" and "Drop Dead Gorgeous", with the last two being huge hits. Upon its release, Republica received generally positive reviews from music critics and was a commercial success. It peaked at #4 on the UK Albums chart and was also successful in other countries, including Germany, The Netherlands and New Zealand. BuzzFeed listed "Ready To Go" at #37 in their list of the 101 Greatest Dance Songs Of The '90s in 2017. The song is featured in dozens of commercials, movies, and series, including Baywatch, Captain Marvel, Malcolm in the Middle, Queer As Folk. Fun fact, "Ready to Go" is also the theme song for the Top Thrill Dragster roller coaster at Cedar Point in Ohio. Republica is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes a 4-page booklet with lyrics and pictures.

Under-the-radar artist CV1 debuts on Life In Patterns Lab with "Blocks of Darkness", a six-track EP that delivers a captivating blend of raw, expressive techno inspired by 90s and 2000s sounds with a modern edge. This release showcases CV1's talent for crafting immersive techno journeys, balancing peak-time energy with deeper, hypnotic, and introspective moods. "Blocks of Darkness" is set to release in mid-July 2025 on hand-stamped vinyl and digital formats.

“Everytime I try” by DJ Chus & Cevin Fisher was one of the biggest worldwide club hits in Summer 2023. That catchy acid-inspired synth line, along with Chus’ signature driving percussion and Cevin’s iconic voice preaching such an inspired message was a peak hour favorite immediately upon release.

And now comes the well-deserved and much anticipated remix treatment. Wheats adds some minimal leaning deep tech flavor with an appealingly mutated effect added to the vocal; Audio Junkies retains the acid based synth line but strips it down and then builds it back up with some new melodic elements that will open up the track to a dancefloor community that looks for more eclectic house music sounds; and finally the 12” includes the Viot remix where this emerging Brazilian producer adds building hypnotic rhythmic elements that give the track an early morning feel to go along with its already established peak hour energy. Rounding out the 12” is the original DJ Chus extended mix, released on vinyl now for the first time as part of this remix package.

This release comes in special yellow colored vinyl.

Debut 12" from the new label RE-DISCO-VER. A new series from SOULSIMMER & ALVARO who have been delivering sundry melodies at their intimate and private gatherings for some time. Check out these 4 simmered and extended adaptations aimed to peak your interest. Limited color vinyl. Paper sleeves.

Playing with a Different Sex was the debut album by seminal post-punk band Au Pairs, released in 1981.

Described retrospectively by AllMusic as ‘one of the great post-punk records’, a review by Record Mirror on its release said the band’s ‘critique of all forms of possession and sexual stereotyping assumes a devastating power’. Themes include sexual politics and the torture of women imprisoned in Northern Ireland during The Troubles of the 1970s, as well as a stunning cover of David Bowie’s ‘Repetition’ about domestic violence. It peaked at No. 33 in the UK, and features the single ‘It's Obvious’, which reached No. 37 on the US Club Play Singles chart. Playing with a Different Sex is available as a numbered limited edition of 750 copies on turquoise coloured vinyl and contains an insert.

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal-Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon."Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic finger-picking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect - baggy, soaring, grey-skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure-esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place.""Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15-minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

Come Live With Me represents a creative peak that sounds fresher in 2025 than it may have in 1974. The first album on his Crossover label, it lives up to the label’s name by showcasing the man’s singular ability to cross over to any audience by making songs from any time or genre undeniably his own.

Each side of Come Live With Me sets a seamless mood: Side 1 is a romantic suite of lush, latenight ballads, while a non-stop soul party is cooking on side 2. This two-sides-of-a-Saturday-night concept lets Ray Charles blend modern sounds and timeless traditions in ways no other artist ever could.

Removed from the trappings and tropes of the mid-’70s music scene, and fully restored and remastered in cooperation with the Ray Charles Foundation, Come Live With Me is finally ready to be appreciated as the masterpiece it always was.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

Vacation Records finally lives up to its name — after years of throwing parties and pushing wax across Indonesia, the collective-turned-store-turned-label now drops its first official 12". VAC001 is here, and it's a punchy four-tracker pressed to vinyl and primed for peak time.

Side A is helmed by label head Angga, who delivers two tightly-wound cuts: the tough, acidic stinger ‘Failed System’, followed by the psychedelic and hypnotic builder ‘Extension’. These tracks channel Angga’s ear for raw basslines and left-of-centre rave magic, honed over years behind the decks across Indonesia.
Flip to Side B and Seoul’s Jesse You takes the controls. Kicking off with ‘Cherry Lights’, a pulsating ride for strobe-lit hours, Jesse then closes the record with ‘DJR’, showing off his knack for bending sonic layers without breaking the groove.

What started in 2022 as a simple mission — bringing electronic music’s vinyl culture closer to home rather than waiting for overseas digs — has grown into something much bigger. Now, with VAC001, Vacation Records cements its place as a platform connecting Indonesia’s scene with the rest of the world, one release at a time.

NJ/NY legend JUNIOR SANCHEZ opens his edits archive to bless the masses with four fresh reworks from the likes of SOLANGE, SAULT, and DEPECHE MODE. "ENJOY THE SILENCE" & "LOOSING YOU" are perfect peak hour hands in the air material, while "WHY WHY WHY" builds on a deeper sound. Paper sleeve.

Launched in London in December 1976, punk stalwarts 999 are one of the most successful and long-lasting acts of the upstart movement. Third studio album The Biggest Prize In Sport was their first for Polydor, the band's competency at a peak, despite the temporary appearance of fanboy drummer Ed Case, drafted in from the Southall Crew supporters when Pablo LaBrittain broke his arm. Often ranked as the greatest album of their entire career, The Biggest Prize In Sport had noticeably smoother edges than their earlier work, yet still holding plenty of bite, the combination pushing it into the Billboard top 200 in the USA. Unmissable!

Modeight steps into 2025 with a thrilling entry from Vedana, the Leeds-born, New Zealand-based artist making waves in the underground scene. With a career shaped by years behind the decks and a newfound passion for production, Vedana distills his rich clubbing heritage into four cutting-edge tracks on Epiphany EP. The journey begins on A1 with "Epiphany". This groove-heavy minimal house piece is powered by rolling basslines and jagged modular sequences that ignite the dancefloor. Perfectly tuned for pre-parties and equally ready to take over peak-time sets, it's a versatile cut that balances tension and release in all the right places. Next up is A2's "Flawless Victory". As the name suggests, this track hits with triumphant energy. A massive beat locks in with deep, dynamic basslines, building a sense of pressure that commands attention. Add in trippy atmospheres and enveloping textures, and you've got a dancefloor weapon primed to elevate the vibe. Flipping to the B-side, "Onomatopoeia" lives up to its playful title. Short, synthetic stabs cut sharply across the soundstage, synchronized with a hypnotic groove that feels both meticulous and spontaneous. It's a standout piece, rich in personality and brimming with rhythmically charged creativity. Closing the record is B2's "Present in the Culture". An absolute heavyweight of a track, it delivers a mix of atmospheric swells and plucky, tactile sounds that pull listeners deep into a trippy sonic journey. With its driving force and immersive vibe, it's a fitting finale to a stellar EP.

Kota The Friend and Statik Selektah reunite for their third collaborative album, "Once In A Blue Moon", a stunning fol-low-up to their acclaimed projects "To Kill A Sunrise" and "To See A Sunset". This album sees the duo refining their sig-nature blend of introspective lyricism and golden-era-inspired production, creating a sonic landscape that feels both nostalgic and refreshingly modern.

Highlights include the electric energy of "BLAH," featuring rap superstar Logic, who delivers sharp, unforgettable vers-es alongside Kota. Violinist Phearnone adds a hauntingly beautiful touch to "What You Need," merging classical strings with Statik's soulful beats for a standout moment of artistic fusion.

"Once In A Blue Moon" is a musical reflection on the rarity and beauty of those transformative experiences that stay with you forever, a vivid journey, showing Kota The Friend and Statik Selektah at the peak of their creative synergy.

FCL presents Can We Try — A Deep House Anthem remixed and
remastered for 2025 including flips from Jimpster, Ben Hixon & Deetron

The ever-reliable FCL—aka Belgian house heroes San Soda and Red D—are back on the block with this remastered remix package of Can We Try, a soul-drenched dancefloor meditation that taps into the timeless tension of love and longing. With its raw vocal hooks (courtesy of Lady Linn), analog warmth, and stripped-down groove, the original cut is pure FCL: emotionally rich, effortlessly deep, and aimed straight at discerning dance floors.

Bringing fresh heat to the 2014 original, three heavyweights of house and techno step in for remix duties—each reworking the track in their own signature style:
Jimpster injects his trademark deep, jazzy finesse, flipping Can We Try into a swirling, soulful roller—lush pads, Moog flourishes, and enough swing to keep bodies moving and hearts locked in. Ben Hixon, the Dallas-based underground wizard, lays down a chunky, hardware- heavy rework full of crunchy drums and woozy funk. It's lo-fi soul with hi-fi intent. Deetron closes it out with a peak-time bomb—big room pressure, hypnotic bass, intense stabs and the kind of tension-release dynamics that only a true craftsman can deliver.
This limited-edition white label 12" vinyl is circulating in the wild—no frills, no hype, just a nod to those who know. Pressed loud and cut for the floor, it’s already making waves in the bags of tastemaker DJs from Berlin to Brooklyn. Can We Try is a reminder that dance music doesn’t need to shout to speak volumes. With this return, FCL prove they’ve still got their finger on the pulse—and their heart in the mix

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

Co-produced by Lorde and Jim-E Stack, with contributions from Devonte Hynes (Blood Orange), Dan Nigro, Fabiana Palladino, Buddy Ross, and Andrew Aged, Virgin is the sound of Lorde returning to the beat-driven and raw lyricism that propelled Pure Heroine and Melodrama to commercial and critical success. Preceded by lead single ‘What Was That’ (which peaked at #1 on the US Spotify Chart), Virgin marks the return of a truly generational artist.

Rodina is the project of singer-songwriter Aoife Hearty and partner Joe Tatton, keys-player & co-writer from The New Mastersounds and leader of the Joe Tatton Trio. On Good Company, their first new album in 6 years, the two are joined by other great musicians including guitarist Lucas De Mulder, drummer Luke Flowers, The Filthy Six horns, and members of The Haggis Horns, among others.

Like their previous records there is a strong acid jazz slant to many of the songs, whether interpreted through a modern soul lens such as in opener "Simple Pleasures" or swaying more towards cosmic jazz-funk such as "We Go Out Of Our Way" or "Trust In This Life", which were the first singles lifted from the album.

Throw in some hippy Americana and even a tinge of Gospel and you end up with catchy songs that include both uptempo earworms like the super charged foot stomper "Good People" or the festival anthemic "Inspiration" and some beautiful chilled moments such as "All Over The Sky" and "Flowers".

Recorded at their small countryside recording studio in the Peak District this is the fourth vinyl produced at their studio after The New Mastersounds' Old School and Joe Tatton Trio's Galactico.

Here we have a new four track EP from ddwy following two acclaimed EPs on Public Possession. ddwy (pronounced d-why) is the Welsh word for “two” — a nod to Naomi and Ronan, the duo behind the project. It’s a four track EP ranging from dancefloor moments such as ‘Beaming Backwards’ and the dubwise ‘Peak Smile’ to the more ethereal ‘Stars Stars’ and the ambient tone of ‘Heuldro’r Haf’. A beautifully rounded EP showing a quiet potential for a broader audience. The echo continues.

Disco Mind founder and Italian mainstay Paul Older and Melbourne's Brother Julian are back with a second volume of the AMBO series after the first one did so well to launch this label last year. Older's 'Keep Dancing' is an electric and peak-time disco cut with string stabs and hard-hitting drums that sweep you off your feet in an instant. It's a real disco inferno then Julia's 'Satisfaction Guaranteed' reworks an old gem into another fast-paced, melody-packed disco stomper. Two very useful disco bombs indeed.

Detroit’s own Brian Kage returns with Timeless Times Remixed, a interstellar re-imagination of his album "Timeless Times" featuring an all-star lineup of remixers. Timeless Times Remixed brings together some of the finest minds in house and techno, delivering deep, timeless grooves with Detroit soul.

Brian Kage, a staple of Detroit’s electronic music scene, brings together a heavyweight lineup of producers to rework key tracks from his latest album. The legendary Delano Smith infuses Detroit Techno City with his signature deep and hypnotic touch, while Scotland's Milton Jackson reworks Just The Groove with a dose of his classic rolling house energy. The collaborative Reference (Luke Hess & Brian Kage) Remix of Nordhouse leans into peak time dub-techno atmospheres, while Detroit's newest and finest young talent from the Submerge crew Max Watts takes Galaxian into raw, driving 808 Electro terrain.
This essential four-tracker bridges deep house, techno, electro, and dub, while staying true to the classic and timeless sounds of Detroit’s roots.

Tommaso is an exciting young talent who has brought plenty of freshness to the underground scenes of both Florence and Chicago. Now he debuts on Rocksteady Disco with more of his signature organic and soulful sounds. This one kicks off with 'G Class' which is a peak-time house pumper with lovely liquid bass and sunny strings. 'Fierro Viejo' is more twisted with rumbling bass and a peppering of percussion that will twist dancers inside out. 'Giente Que' is an arp-fuelled Italo-inflected banger and last of all is the more slow, seductive and absorbing sound of Snake Pit' for late-night lovers. Another fine EP from Tommaso.

Abstraxion unveils Void Sequence, a high-energy EP blending progressive house, early trance, and raw ’90s club aesthetics — featuring remixes by Bliss Inc. and Maruwa.
Out June 6th on vinyl via Biologic Records, the release delivers rolling basslines, hypnotic builds, and razor-sharp grooves — all engineered for peak-time impact.
A forthcoming remix EP will include Bliss Inc. and Maruwa’s unique interpretations of the original tracks.
Supported by: Jennifer Cardini, Massimiliano Pagliara, Alinka, Eoin, BELLA, Bliss Inc., Maruwa, Chloé, Pletnev, Bella Sarris, Blu:sh, Fabrizio Mammarella, Miguel de Bois...

In December 2024, The Lost Recordings released the first volume of this legendary concert, recorded on October 11, 1960, at the Olympia by Miles Davis and his quartet, joined by saxophonist Sonny Stitt. Alongside pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, they formed an ensemble of exceptional musicality.

Now comes the second part of this remarkable concert.

In 1960, Miles returned to Paris for the fourth time in 12 years. Just months earlier, he had performed there with John Coltrane in a turbulent concert, marking the end of their collaboration. In October, at the Olympia, he rediscovered a stage he loved in a city he had fallen for back in 1949. "I loved being in Paris, I loved the way I was treated there," he would later say.

Since 1949, his music had evolved. From his immersion in Parkerian bebop to his collaboration with Gil Evans, he refined his style, developing a more spacious jazz inspired by Ahmad Jamal and enriched by his classical training. The soundtrack of Elevator to the Gallows in 1957 was a turning point, foreshadowing the pinnacle of Kind of Blue in 1959.

From the opening notes of Stardust, a previously unreleased piece, Miles sets the tone—seduction and lyricism. With a track attributed to Sonny Stitt, the swing settles in. The atmosphere intensifies with ‘Round Midnight, followed by Walking, where Stitt and Davis engage in a masterful exchange. If I Were a Bell and Fran Dance offer a more introspective moment before Two Bass Hit reignites the energy. The concert reaches its peak with So What and All of You, as Miles captivates the audience until the final notes of The Theme.

Our quest to recover the full concert began in 2022 when a friend sent us a photo of magnetic tapes in Brittany. A label reading "Miles Davis – Olympia 1960" caught our attention. After two years of research spanning France, the United States, and Stockholm, we are proud to present, for the first time, the complete version of this legendary concert.

There are imagined landscapes we all carry within us—dreamed,
half-remembered, or just beyond reach. Lofoten, the new album by
Cate Francesca Brooks on Clay Pipe Music, is a musical reflection on one such place.
Located above the Arctic Circle, Norway's Lofoten Islands are known for their dramatic peaks, open seascapes, and distinctive red fishing cabins dotting the shoreline. Though Brooks has never visited this remote northern region, it became an unexpected source of inspiration.
The project began when Cate listened to a narrated "sleep story" set in the islands. Intrigued, she researched the region and found herself drawn to its stark beauty."I fell in love with creating an impression of somewhere I would probably never visit, but felt a real affinity with," she explains.
This ambitious album translates that connection into sound. Through carefully crafted electronics, melodic themes, richly layered textures and big production, Brooks captures the essence of Lofoten—its icy light, vast horizons, and profound quiet."The other thing that happened around the same time was the first lockdown here in the UK. I had taken the opportunity of having some extra time to learn a new (to me) method of synthesis; that of the Synclavier, which uses one aluminium wheel and an array of buttons to control every parameter of the sound.
"I took to it with intrigue and before I knew it, I had built up hundreds of original sounds, many of which were perfect for the textures I could hear in my head for Lofoten. So that (along with a Prophet synth and a TR-808) became the sound world." Lofoten stands as an evocative testament to how music can transport us to distant places, transforming geographical limitations into imagined creative possibilities.

REPRESS

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.


Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India?
In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris.
In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“
The people I lived with supported my idea of writing music, they introduced me to great mu-
sic. There used to be a great garage scene in San Francisco, like The Oh Sees also Ty Seagall, Mikal Conin, all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.


At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.


For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s THUMP subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op-
Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new PCRC enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.


Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time.
If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener
on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.


Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.


The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.


A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al-
lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.


Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

Jolene Cuts brings you straight into the heart of 90s French Touch with a modern edge. This exclusive vinyl-only release features 5 meticulously crafted filtered house edits, paying homage to the roots of house music while igniting today's dancefloors. Created by Danny and Mike, true masters of their craft, these tracks combine funky grooves, disco-infused samples, warm filters, and irresistible retro vibes reimagined for the present day. Each edit offers a unique sonic journey, blending nostalgia with a fresh energy, perfect for DJs and collectors who value the timeless magic of vinyl. With this release, Jolene Cuts celebrates the legacy of French Touch while delivering peak-time quality and undeniable groove for any set, from fiery club nights to intimate after-hours. A must-have for true house music enthusiasts. Vinyl-only, strictly limited edition. Once it's gone, it's gone.

"PEOPLE" (original release year : 1988)
Hothouse Flowers' debut album People (1988) was a remarkable fusion of rock, folk, and soulful blues, spearheaded by the charismatic vocals of Liam Ó Maonlaí. The album was anchored by the hit single 'Don't Go', which propelled the band to international recognition.

With rich instrumentation and passionate performances, People stood out for its refreshing blend of Irish musical roots with contemporary rock influences.

The album was the fastest-selling debut in Irish history at the time. It topped the Irish Albums Chart and peaked at No. 2 on the UK Albums Chart, while also making significant impact in the U.S. and other markets. People was certified Platinum in the UK and Double Platinum in Ireland. Backed by strong singles like 'I'm Sorry' and 'Feet on the Ground,' the album sustained impressive momentum, further fuelled by the band's dynamic live performances.

People solidified Hothouse Flowers as one of the most exciting Irish bands of the late '80s, demonstrating the band's ability to bridge genres while delivering powerful, heartfelt music.

For 2025 Hothouse Flowers celebrate both People and its follow up album Home with a UK national tour revisiting both albums in full.

London Records celebrate the tour with represses of People and Home on vinyl, with restored artwork faithful to the original editions.

"HOME" (Original Release year : 1990)

Hothouse Flowers' sophomore album, Home, released in 1990, built on the success of their debut People while showcasing a more mature and introspective sound while maintaining their signature heartfelt, genre-blending approach to music. The album continued their signature fusion of rock, folk, gospel, and blues, its tracks demonstrating both introspection and a vibrant energy.

Home reached No. 1 on the Irish Albums Chart and peaked at No. 5 in the UK. The album was certified Gold in the UK and Platinum in Ireland, reaffirming the band's status as one of Ireland's most successful exports at the time. Lead single 'Give It Up' became a fan favourite, while the band's cover of Johnny Nash's 'I Can See Clearly Now' broadened their appeal, a Top 5 in Ireland and chart hit in UK and Australia.

The band's relentless touring and powerful live shows helped sustain Home's international momentum and commercial success. For 2025 Hothouse Flowers celebrate both Home and its predecessor People with a UK national tour revisiting both albums in full.

London Records celebrate the tour with represses of People and Home on vinyl, with restored artwork faithful to the original editions.

LPV makes a striking debut on Monnom Black with an expansive double EP, delivering eight meticulously crafted tracks that fuse dub, bleep, and bass into peak-time weapons. His release showcases a dynamic range, from intense, Basic Channel-inspired dub techno workouts to deeper, bleep-laced techno grooves that weave hypnotic precision with relentless drive. Each track is a versatile cut, crafted for special moments, blending atmospheric depth with pure momentum, cementing LPV's arrival as a formidable force.

Golden hour couldn't come soon enough for HATT.D, presenting his new EP on Belgian label Flipsight.

Our sun-soaked journey along the lakeside begins with the title track, 'Hold Me' . An unexpected vocal flip that transforms a forgotten sample into a soulful plea. Next up, 'DANCE' delivers a mellow yet club-ready groove, driven by sharp vocal chops and Dave's signature bass-forward rhythm.

On the B-side, 'Check This Shhh Out' fires things up with no-nonsense energy: snappy hi-hats, heavy kicks and pure peak-time attitude.

Closing the ensemble is 'Connection', an ode to the deep, often elusive feeling of true human connectivity.

Further explorations into the deep space of the future/past by two master- improvisors who compose their wordless paintings out of thin air. Their collaborative powers are nowhere near their peak and this voyage takes them further into the Uncharted. These pieces unfold as revelatory mind blooms. Creating a canopy of sound forms inside which they speak the rarifi ed language of world creating. This isn’t just music, it’s a journey without maps, Inside.
This new LP takes Nelson & Kramer deep under the earth's seas, pulling the listener down beside them as they explore the uncharted currents that fuel the human imagination, fl uid, always moving, and always changing. It is an excursion into the lowest depths of Ambient Music, and a new beginning from the very place where life itself began. The fl oor of the ocean has a new sound, and it is breathtakingly beautiful.

Sweden’s Tiger Stripes returns to Rekids with the ‘Dance For Peace’ EP, following on from February’s ‘All Night Long’ and 2024’s ‘I Heard It Through The Bassline’ EPs. Across four warm and funk-fuelled cuts, he delivers another essential selection of House grooves primed for peak-time moments and deep, late-night sessions alike, already supported by Oliver Dollar, Riva Starr, Anja Schneider, and more.

The opening track, ‘Time For Peace,’ is a brilliantly loopy roller, featuring bouncy drums, muted synth motifs, and a vocal swirl of soulful cries that ramp up the energy. It’s a stylish tension-builder, paving the way for ‘Rockin’, a chunky jam with funky melodic riffs buried in the beat and wordless ad libs teasing out the soul. ‘The Street’ keeps the vibe flowing with swinging drums, knotted guitar licks, and subtly filtered vocals worked into a steamy, party-starting groove. Closing things out is ‘A Dance’, a deeper cut drenched in lush chords and hazy vocals—perfect for blissed-out dancefloor moments.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Get Physical, Kwench Records, and Rekids. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite.

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