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Good Morning Tapes are back with a new album of lushest New Age sound-bathing x emotionally gooey trip hop from Andro Gogibedashvili aka Saphileaum.

Saphileaum has spent the past decade in passage between notable houses of atmospheric sorcery - Mule Musiq, Not Not Fun, Slow Life, Constellation Tatsu - and of course Good Morning Tapes, who now host their 3rd meeting, »Heavenly Hills«. A definitive chapter in his ten year saga, it is flush with symphonic strings and sky born keys, breezily urged by percussion that straddles chill out and folk zones. That said there’s also a Balearic - or should that be Black Sea? - appeal to its title tune, that lingers in the glistening wake of »Your Grace«, to the shimmering breaks of a parting piece »Alarko (Cosmic Eagle)«, falling into the space between Boards of Canada’s cult-inspired hauntological nostalgia and Shackleton’s hallowed ethno-dub.

»The tracks in the album were written with the inspiration of the kingdom of Shambhala in the Himalayas. I’m deeply fascinated and touched by it. Even the album title, holds the idea of its Heavenly nature and the tracks are like individual, elemental parts of it. The album is not a journey into Shambhala, but rather a play and a dance with its energy, image and presence in my world. »Alarko (Cosmic Eagle)« is dedicated to my grandfather, Temur Tsiklauri, and I dedicate the whole album to my country Georgia, which I deeply love«.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

Sleeparchive and Oliver Rosemann present a collaborative EP built as a shared system rather than a dialogue.
It is procedural: reduction, iteration, feedback.

Elements are introduced to be tested against the system. Changes occur slowly, often at the edge of perception, creating tension through persistence. This record documents convergence. A temporary alignment of processes, tools and timing.

The Sunken EP is cut for long-form playback, where variation becomes noticeable through duration to put you into a hypnotic state.

Bella Boo lands on Aus Music with a mix of party-starting and heart-racing house jams

Swedish artist KURT. brings her characterful style to the title cut

Bella Boo has lit up the house world since breaking through in 2018. She has become a Studio Barnhus mainstay with a sound that is both emotional and energetic in the way it contrasts light and dark. It's built on solid grooves with fresh sound designs and has taken her to dj everywhere from Panorama Bar to Printworks. Her debut LP, as well as follow-up EPs, have seen her nominated for several Swedish Grammys and seen her profile grow around the world. KURT. is a rising star from Stockholm with an electric sound that blends club, r&b, pop and soul. It's high on attitude and laced with her own provocative vocals. She guests on opener 'Shake Down', which is a chunky, bass-first rhythm packed with character: hints of jungle breaks, heat-damaged synths and blasts of gloopy bass all bring the fun before KURT.'s vocal motifs - which are variously sultry, whispered and visceral - inject even more heat. The Regrette Rien Mix takes on a late-night feel with sustained chords and a silky smooth vocal from KURT. that turns you inwards. Bella Boo then goes solo for the super vibey 'Atlas', a deep, cruising house cut with catchy percussion and lush, layered bells. The golden chords and shimmering pads are immersive and expansive as the bass powered on. Lastly, '8Ball' quickens your step with bumpy kicks and increasingly detuned, wonky synths that bring a future feel to a punchy yet cuddly and feel-good groove.

Berlin-based producer ZentaSkai returns with ‘Analog Assets Vol. 04’, a four-track vinyl-only EP focused on analog texture, dub-inflected atmospherics, and disciplined techno structure. Active since 1997 and operating Mask Records and its parent label, Zaijenroots, from his Berlin studio, he continues to refine a sound shaped by spatial control and steady, architectural pacing. Tracks unfold patiently, elements are introduced with intent, and nothing feels excessive.
Setting the tone with Cuddling Monsters’ partner, Laura Merino Allue, A1 features phased melodic textures and crisp percussion that gradually lock in the rhythm. A2 develops a filtered synth motif over a steady four-to-the-floor rhythm, revealing its full weight before pulling back. B1 is the most direct cut, driven by a firm, punchy beat and sharp rhythmic detailing built for peak-time focus, while B2 closes with rising string layers over a dub framework, balancing warmth and precision in a clean, measured finish.
With releases on Jerome Sydenham’s Ibadan Records and upcoming collaborations including Cuddling Monsters with Laura Merino Allue and a joint project with Thomas Grun for Rhythm Trax Austria, ZentaSkai’s work sits comfortably between minimal experimentation and functional dancefloor design.
Supported by artists such as Richie Hawtin, Joseph Capriati, Marcel Dettmann, Luke Slater, Laurent Garnier, and DVS1, he maintains a consistent presence within the underground without chasing trends.

Daybreakers head to Chicago for this one, bringing back How Bad I Want Ya from Soul Element, aka Stacy Kidd, alongside Peven Everett. This record is a true representation of the city — Stacy’s deep approach to house music and Peven’s unmistakable voice up front. It carries that raw, direct energy that defines a lot of their best work.

How Bad I Want Ya has been around for a while now, one of those records that stayed in bags and never really disappeared. It’s a proper slice of deep house with a vocal that stays in your head.

The original keeps things direct and deep. No excess, just a track that does what it needs to do on the floor.

On the B side, Glenn Underground steps in with the Peak True Time Mix, stretching things out and adds some percussion and an infectious bassline. It’s a proper GU remix — longer and patient, while keeping that Chicago swing intact.

Two sides of the same city, done properly.

House that was always deep.

Buy or cry.

After finding their feet with a couple of remixes for Before I Die, Talking Drums ditch their sea legs and swap the pirate booty of their cult edit series for a five-track EP of original productions, each swimming in LinnDrums, digital chimes and synth-vox sunshine. Summer sounds abound as the crew refract house, disco, ambient and dub through shimmering sea glass, bringing the beach to the bar, club, garden or grotto.

Inspired equally by tropical Sceneries (but Not Songs), Ecco the Dolphin and Echoes of Wally, as well as a few tall tales about trendy whales, this 16-bit caper makes a splash from wave top to bikini bottom. Written and produced as a cohesive EP over three sun-baked weeks in 2025, and stitched together with field recordings and found sounds from Sicily, rural France, Japan and Singapore, Pier Pressure sees each track flow into the next: distinct seas that make up one larger ocean.

Opener ‘Fashionable Whale’ surfaces with mystic motifs and dreamy pads arcing above the spray before a purring low end and drum-box shuffle plunge us into Balearic house depths. A rippling breakdown, bookended by insistent arps, provides respite from the rhythm before the low-tempo pulse returns to take us home. Sticking with Zone 2 cardio, ‘Salmon Hats’ serves wonky disco at Valium pace, its beatific vox and glittering sequences underpinned by a hip-swivelling bassline and topped with a future-primitive melody. After drifting into dream house for a sunset lull, it’s back to the beat and the enduring question of how best to dance on a lilo.

‘Mangrove’ offers an intertidal intermission as tuned percussion finds a place among the cicadas and lapping waves, gently unfolding into an RPGambient ode to humid languor. Refreshed, albeit ailed by a sunstroke haze, we’re back on the dance floor with the optimistic motifs and jolly polyrhythms of ‘Flutti Di Mare’, an uptempo, Afro-adjacent house workout designed to inspire mile-wide smiles. Then the EP sails off into the sunset with the fathoms-deep delight of ‘Squid Dub’, a Cousteau-coded cod-reggae stepper with digi-dub bass, pound-shop marimba and all manner of THCtinged FX. Don’t be deceived by the loose and limber opening: a solid sequencer emerging at the midpoint sees the Squid squeeze every bit of bump out of the finale.

Forget ATOL protection - Talking Drums deliver your summer holiday directly to your stereo.

LIMITED 300 ONLY CRYSTAL CLEAR VINYL WITH PURPLE BLOB AND BLACK SPLATTER. HOUSED IN FULL COLOUR MATT SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.
Following his two sold out releases ‘Vertigo’ & ‘Water Music’ on Riot Season last year, the ever prolific Ivan The Tolerable returns with ‘An Orphan Form’
A beautifully strange and immersive suite that feels both otherworldly and rooted in something organic. Drawing on kosmische drift, loose-limbed jazz, and warped psychedelic textures, the record moves like a half-remembered dream.
Field recordings and nature sounds weave in and out, grounding the swirling synths and off-kilter rhythms in real earth and air. It's a record that doesn’t follow a straight line, but instead wanders, curious, alive, and quietly spellbinding.
Recorded in winter 2024 in Middlesbrough, UK and Utrecht, Netherlands
Oli Heffernan: bass/guitars/synths/drones/field recordings/electric piano
Mees Siderius: drums/percussion/vibraphone
Elsa Van Der Linden: saxophones/flutes

Brouqade returns with a heavyweight contribution from one of Mexico’s finest: Sakro takes the helm, delivering a 12" that strikes the perfect balance between hypnotic depth and peak-time functionality. After months of building anticipation on dancefloors worldwide, becoming a secret weapon, these four tracks have finally found their way onto wax.

This EP is a masterclass in rhythmic tension and psychedelic storytelling. Sakro places the groove unapologetically at the forefront. The listener is submerged in a dense atmosphere defined by:
Rolling Basslines & Trippy Textures

Across the four tracks, Sakro explores the intersection of raw house energy and sound design. The nuances whether modular bleeps or unexpected percussive shifts, intensify the groove rather than distracting from it. It’s this specific blend of sophistication and grit that has already caused a stir in some Sets.

Constant Black is one of the many, many labels that Burnski heads up. It's where he focuses on stripped-back minimal and tech house with a moody undercurrent. Kerouac is a mainstay in his orbit and here takes one side of a new 12" that opens with 'This Method,' a rigid thumper with an eerie edge. 'Produce To The Max' has a dark bassline and ghoulish vocal sounds, while 'Talking About' is a more light and bumpy percussive number. Mees Mattern takes care of the flip with the dusty, garage-y loops of 'Sloppy Tekniic,' rubbery bass minimalism of 'Reeses Pieces' and grittier '404 Not Found. Six fresh tools for rewiring a dancefloor.

Reliance is one of the many millions (ish) of labels that UK powerhouse Burnski heads up. This one has a focus on UKG vibes and Skeptic fits right in. His EPs are so inherently playable that they always fly off the shelves and straight into sets all across Europe. This one opens with 'Swing It', a nice sleek swinger with muted vocals and neon pads. 'Funky Flava' has more grit and bite to it with some sharp percussion and rude boy vocal stabs, then 'Steppa' is all bubbly and vibey with a smooth flow and the sort of bass that will get lips curled in mock disgust. 'Lose Control' shuts down and might be the best of the lot - gloopy bass and nice round kicks with liquid melodies and a late night warmth. Pure fire.

By 2005, Drugsex Recordings had firmly established its own identity within the Tech House scene, providing a platform for deeper, sounds for the heads and also could further push the peak-time cuts for the era. For the label's fourth release, founder Rob Pearson teamed up with Chris Pascoe. Pascoe’s distinctive style had already earned him recognition through a string of acclaimed underground releases and Rob & Chris kept meeting through the underground party scene so friendship and collaboration were a natural step.

The collaboration resulted in One More Time, a beautifully balanced meeting of two production styles. Combining Pearson's trademark rolling grooves with Pascoe's musicality and deep, understated funk, the track perfectly captures the stripped-back sound that defined the best of mid-2000s UK Tech House.

On the flip, Rob Pearson takes centre stage with the solo production Shadow Maker. Deep, hypnotic and effortlessly understated, the track showcases the signature South London sound that became synonymous with both Evasive and Drugsex Recordings—tight percussion, warm analogue textures and an irresistible groove built for long nights on discerning dancefloors.

A portage is the stretch you carry across – the overland pass between two waters, where you shoulder the boat and the paddles and keep moving even after the current runs out. It isn't a break in the journey; it's part of it. TAMIZDAT's fifth release takes that as its shape: four artists carrying a single, measured groove from one shore to the next. Rooted in deep house, techno and minimal, Portage isn't built for the peak – it's an unhurried, warm, buoyant passage that stays light on its feet.

Genning is no stranger to this water — a MixCult regular since his 2018 debut, and his Sunlight EP was TAMIZDAT's second release. He returns from the heart of the family that shaped the label's dub-leaning sound.

Dot (Dotan Bibi) crosses over from Tel Aviv — an Israeli producer with roots in Detroit house. His Intergalactic Ride EP already landed on MixCult in 2024, and he returns here working out of his analogue home studio.

Overt has been a prominent MixCult voice since 2021, known for an ethereal, galactic juno sound that drifts easily into dub chords — records like his Simple Astral 12" mark him as one of the label's steadiest hands.

zekeN, the Romanian producer and one half of zekeniaN, brings more than fifteen years in electronic music: deep, energetic grooves, dreamy pads and percussive basslines that lean minimal rather than strictly rominimal. His zekeniaN project has surfaced on MixCult before; here he steps out on his own.

TAMIZDAT is a division of MixCult Records

By 2005, the Rob & Si partnership had found its stride. Working from Online Studios in Croydon, South London, Rob Pearson and Simon Copleston (Iteration X) continued to refine their unmistakable take on underground Tech House, combining deep rolling grooves with crisp percussion and slick production skills.

Originally released as EVA015, Just Add Water was pressed as a limited white label release during a period of distributor changes, meaning it never received a full release at the time. As a result, original copies have become highly sought after by collectors over the years, regularly changing hands for premium prices whenever they surface on the second-hand market.

The EP features the unmistakable Original Mix, alongside an alternative interpretation from each producer, with the Iteration X Remix and Rob Pearson Remix offering their own distinctive twists while staying true to the stripped-back, rolling sound that defined the era.

More than twenty years on, Just Add Water remains one of the hidden gems from the early Evasive catalogue and a snapshot of London's underground Tech House movement at its most authentic.

Deep In Dis Intl. returns with its first physical release of 2026, welcoming Frankfurt-based multifaceted artist Ba.Dido AKA Ido Toledano for his label debut. Rooted in the timeless spirit of early Chicago Acid House, Get Loose EP delivers four cuts packed with percussive grooves, seductive vocals and infectious sequences.

The label’s seventh vinyl outing stays true to its ethos: releasing only what feels right to dance to—and Get Loose EP is no exception. Completing the package is a standout remix from rising Berlin House Music producer DJ Split. A timeless blend of acid, house, and club energy, crafted for DJs and dancers alike.

Jus-Ed's Underground Quality label has been living up to its title for more than 20 years now. The brief is simple - deep, smoky house music with soul, and it keeps coming at a steady rate from a blend of newer names and more established stars. Next up this late summer is a three-part remix package that revisits a gorgeous original by Nathalie Capello and Rose Lonegran. TrackHeadz kicks off with a nice swaying and dubby rework that is blissed out and spine-tingling, while Melchior Sultana taps into a melodic and Mediterranean sound perfect for sunset. DJRYDER's closer is a more percussive and prickly affair and Patrice Scott locks you into a zoned-out, late-night roller. Top-notch deep house.

It is with much pride we present the seventh record on our in-house Palace Trax
label produced by none other than Troy Anderson aka Cityboy.
Troy is known amongst the discerning techno collector for his boundary-pushing 90s
releases on US label, 1200 Music and in recent times under his DFD moniker on
labels such as Down Low and We’re Going Deep.

Impeccable production and musicality is evident across the record. Tight percussion,
searing synth leads and well-tempered acid lines meld together into rolling techno
and electro. Each track ebbs and flows through moments of hypnotising rhythm and
pockets of bliss.

Troy got in contact with us off the back of PT006 (Joe DeWaal) and with Joe having
been inspired by Troy’s music while making the record, it seemed a synchronicity we
couldn’t ignore. We’ve all big fans of Troy’s music and thus the wheels were set in
motion for the seventh instalment on Palace Trax.

A note from Troy:
‘So the name "Cityboy" is actually a slang term used here in Texas by someone that
lives out in the country that makes fun of someone that lives in the city. These
country folk often say things like "Listen here cityboy, you might have been born at
night, but not last night" or something stupid shit like that. It's an inside joke
between me and Gerard Hansen). Since you are going with the Cityboy moniker we
should make use of that saying.’

Lizard & Snake, the new collaborative project from Elia Nafzger and Axel Pineau, lands on Respect The Craft Enterprises with a classy collection of deep, rolling hypnotic house cuts. Tight grooves, crisp percussion and understated funk make for timeless dancefloor tools with plenty of character. A strong debut from the duo and another quality addition to the Respect The Craft Enterprises catalogue.

Drifted’s eighth instalment welcomes Manchester’s wonder-kid, Huw Shipps to the imprint for The Sleepwalking Waltz EP.

A tightly worked selection of sophisticated, rolling tech house fluttered with crisp percussion and warped atmospheres. Mella Dee also steps in on remix duties with his own take on the A1 – reshaping the original with added weight, and his hypnotic spanglecore feel.

Four cuts built for the club, and another chapter in the Drifted catalog.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

When Alan Parker recorded the killer library soul-funk LP The Voice of Soul with session vocalist Madeline Bell in 1976, some bright spark at Themes decided to also release all of the backing tracks as a separate, and equally innocuously title LP called The Sound of Soul. Thank goodness for bright sparks.
Released as a collection of unobtrusive musical backings in various rhythmic styles', the LP's original description dryly explains these tracks have been issued without melody and are therefore particularly suitable for use behind commentary. Female vocal versions of these tracks are issued on TIM 1021 The Voice Of Soul and it is possible to edit from vocal version to instrumental version or vica versa where commentary or scene changes occur'.Madeline Bell was backed by The Rhythm Section, who were for all intents and purposes the Themes International Music house band. So what we end up with here is entire album of instrumental work-outs by a band comprised of the formidable talents of Alan Hawkshaw on keyboards, Alan Parker on guitars, Barry Morgan on drums, Les Hurdle on bass guitar and Frank Ricotti on percussion.
Without Bell's vocals these backing tracks are given all the room they need to breathe. Each one more than stands up on its own.
The Sound of Soul is a real diggers' delight and, unsurprisingly, a must-have counterpart to The Voice of Soul.
As with all ten re-issues, the audio for The Sound of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Andrei Ciubuc and Rhadoo join forces again under the classical a _ r duo we are all familiar with, this time appearing on Cameleon Records’ second installment CML02, delivering two power-house tracks, remembering us about the pure minimal-techno sound that formed the pillars of today’s underground scene. Different in their own fashion, these two tracks perfectly blend percussion, melody and trippy elements in a way that only this fusion can deliver.

COLLECTING ORDERS FOR 2026 REPRESS
London-based RUKI joins forces with Japanese producer DJ Himitsu for a playful and percussive EP rooted in the natural world. DJ Himitsu’s polished productions collide with RUKI’s love for nature, creating an energetic and esoteric four-tracker.

Opening strong with the rainforest-infused rhythmic house of ‘Mint’, the EP then turns to the hypnotic percussion of its title track ‘Sometime’. On the flip, ‘Matane’ offers a buoyant, uplifting contrast in 4x4, while the low-slung psychedelic-infused breaks of ‘Door’ close proceedings in a surreal fashion.

Pressed on EcoVinyl, ‘Sometime’ removes up to 50% of the record’s traditional carbon footprint by repurposing the offcuts from coloured pressings

Professor Roth's debut EP, self-released on his newly formed label Maestro, is music that feels half remembered. Familiar enough to settle into, strange enough to keep shifting beneath your feet, it lives in that sweet spot where groove and abstraction lean into one another. Dusty textures, hazy melodies and understated rhythms never demand attention, yet quietly refuse to let go. Every track feels like another realm of the same dream: warm, weightless and just slightly out of focus.

‘Daydreaming’ is an inviting first step into the haze, opening the door without ever fully revealing what's on the other side. Gentle movement carries drifting melodies that seem to appear and disappear with every listen. An ethereal vocal breakdown creates the feeling of being quietly carried away from its hypnotic groove before pulling you back under its spell. Patient and understated, ‘The Way It Is’ lets the groove do the talking while subtle details gradually come into focus. Dubby percussive chaos is softened by warm, lifelike pads, encouraging your body to move while your mind wanders elsewhere.

As the name suggests, ‘Swells’ arrives in waves. Layers fold over one another, building and dissolving without urgency. There's a beautiful tension between motion and stillness, leaving the track suspended somewhere between the dancefloor and a reverie. ‘Shades’ is a fitting close that blurs the edges even further. Soft, hypnotic and quietly psychedelic, it feels less like an ending and more like waking up slowly. Content to linger in that in-between a little longer, glitchy samples drift through swirling soundscapes, keeping the dancefloor gently spun until the very end.

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

LOK Black welcomes Strack with Voices Within EP, a deep and hypnotic journey through refined minimal grooves, subtle textures and intricate rhythmic details.

Across the release, Strack delivers a sophisticated and immersive sound, balancing stripped-back percussion with atmospheric elements and a steady, rolling groove. The EP is joined by Crihan, who brings his own distinctive touch to the remix, adding another layer of depth and movement to the release.

A carefully crafted vinyl release for those who appreciate deep, hypnotic and timeless minimal sounds.

LOKBLK005 – Vinyl Only.

Corrie is back with 3 fresh tracks, all made this year, and they're exactly what you'd want from him: fun, catchy, and built for the dancefloor. Driving percussion, basslines that stick in your head, and mischievous vocal samples weave together across all three, built to work instantly in any set.

No unnecessary frills, no gimmicks, just club house made with craft, steady groove, and that cheeky edge Corrie has kept intact throughout the years.

Opening into lusher, dreamier and more abstract territory, GEKO02 is the second release on the new label by OK EG, GEKO. This record finds the Melbourne duo in the zone, producing refined synth and percussion workouts that elude easy classification. Pulse and bounce are in abundance, balancing richly detailed rhythms with effortless tension and release. Immersive in headphones and enormous on open air dance floors, these beautifully realised tracks are precise and organic in equal measure. Sure movements, soft pressure.

"Potency rolls into double figures with a new release from Malik Kassim, aka Retromigration. Following albums and singles on labels including Love On The Rocks, Rhythm Section and Wolf Music, the tenth release on Cromby's rapidly-evolving, floor-focused imprint locks into the sound of one of house music's most consistent and consistently exciting producers, seamlessly bridging the established Potency energy with a luxurious vision of the genre. 'Love Rock' summons an instant block party energy, showcasing the expert weight of Kassim's basslines, as well as hinting at the fusion of hip-hop and jazz that bubbles through the textures of the German-Nigerian producer's studio work. Meanwhile, 'I Do Dance' stays true to the promise of its title, delivering blissful sun showers of synths amid emotional pads and hints of the classic Korg M1 organ sound, a universal signal to party. Ushering in the flip, the more tightly-wound percussion of 'Neighbourhood' maintains Kassim's driving groove, while dancehall samples and dub influences expand the established Retromigration sound into new spaces. Finally, 'Go 2 Nowhere' completes the dance, masterfully blending pillowy breakdowns and wistful keys with the EP's most urgent groove. Rich in detail while keeping the floor in constant motion, 'I Do Dance' reinforces Malik Kassim's timeless touch for unmistakably modern house music."

Body2Body's first release is from its three founders: Elia, Nikizi and Axel. Three friends who've spent the last 6 years making music together. The label is new. The friendship isn't. Four tracks, each one its own room. Nikizi opens with a fearless, percussive-driven groove. Axel follows with classic, raw bassline-driven depth. Elia brings a hypnotic groove with subtle vocal infusions. Oclock closes with a jazzy hip-hop turn with tantalising vocals. A debut for the long bag. Made for the kind of nights that don't end early.

Renovat Records opens its vinyl catalogue with a four-track built around deep rolling rhythms, low-end pressure and deep, warm energy.

Side A brings together Remus and Drianu. Remus sets the tone with a rolling and percussive cut that moves with a deep, steady groove, while Drianu follows with a more hypnotic approach, driven by heavy sub pressure and a stripped-back, locked-in rhythm.

Side B shifts the mood through Lumieux and Vid. Lumieux brings a sharper and more kinetic edge, while Vid closes the record by slowing things down into a deeper, more spacious and dynamic trip.

Four distinct perspectives on minimal and microhouse, connected by groove, restraint and a clear focus on the dancefloor.

A new pandemic is making its way to you—from New York to Berlin. A bond destined to last for centuries, this release carries that same timeless energy.

Deep bass, hypnotic rhythms, and subtle percussion come together, pulling you deeper and deeper into the progression. A journey built on tension, movement, and atmosphere.

2026 Repress

It was only in 2018 that New York techno mainstay Joey Beltram revealed that he was the man behind 'SW37', a record which had been an underground classic since it first started doing the rounds in 1998. It remains an evergreen favourite almost 30 years on, which is why Damon Wild's Synewave is reissuing it here. The A-side is gloppy, dubby techno with impish percussion darting about the mix and drunken hits bring an off-kilter edge. On the flip, 'SW37B' is stripped back to pure deep techno serenity with deft ambient pads and a sense of unrelenting meditation that locks you in the here and now.

Milan-based independent label WEorUS Records celebrates its 10th vinyl release with WU010, a four-track Various Artists EP bringing together four distinctive names from the international minimal and deep house underground.
Moving between deep, hypnotic house, micro-minimal grooves and darker after-hours territory, WU010 is a carefully curated selection built for the dancefloor, with each track offering its own take on rhythm, atmosphere and club functionality.
Chicago veteran DJ Jes opens the record with a deep, rolling groove driven by a solid bassline, hypnotic vocal cuts and enveloping synths.
Pressure Point delivers an atmospheric micro-minimal cut, combining crisp percussion, dreamy pads and subtle melodic elements into a versatile and uplifting club track.
Romanian producer Dragosh returns with a tight piece of micro-house, built around precise drum-machine programming, organic glitches and hypnotic delay work.
Renè Audiard closes the record on a darker note, combining deep sub-bass, sparse clicks and a stripped-back nocturnal groove designed for extended after-hours sessions.
WU010 marks a decade of vinyl releases for WEorUS — four artists, four distinct approaches, one focused journey through the deeper side of the underground.

Alt Dub boss Federsen once again joins forces with cv313 and Echospace Detroit to deliver a second instalment in their ‘Altering Dimension’ series, once again merging hazy textural sonics with delicate dub leaning aesthetics.

Detroit’s dub techno lineage continues to evolve as cv313, Stephen Hitchell of Echospace, teams up with Federsen for Altering Dimensions Part Two, another collaborative EP set to land on Federsen’s Alt Dub imprint.

A defining figure in the genre, cv313 has long shaped its language through seminal works like Seconds to Forever and the Dimensional Space LP, fusing enveloping atmospheres with tactile rhythmic structures. Alongside him here,

Federsen whose music can also be found on Echospace Detroit as well as Grayscale, Synchrophone, Lempuyang and Avant Roots, has carved out a distinct voice rooted in precision and analogue-rich depth. Altering Dimensions Part Two again captures the intersection of these two perspectives, linking Detroit’s enduring sonic heritage with a refined, forward-facing approach to dub techno.

‘First Dimension’ opens the release, laying down heavy doses of sub bass, bubbling percussion and ever evolving, murky dub echoes amidst a crisp, stripped-down rhythm section.

‘Second Dimension’ follows and leans into vacillating atmospherics, a swaying bottom end groove and hypnotic, subtle evolution that’s synonymous with the cv313 sound.

‘Third Dimension’ kicks off the b-side next, further embracing this introspective and immersive style as textural elements shift and mutate atop intricately modulating percussive hits, bubbling synth tones and weighty low-end percussion.

‘Fourth Dimension’ then concludes the release, reducing things down to bare bones of hypntic dub, embracing a beatless construction the composition relies on spatial depth, nuanced delays and an underlying tension that decays

Irish label Il Corpo returns for its third outing with a hard to pigeon hole 10” from 710 Exit. 2 tracks that sit on the electro end of things but with a generous nod to the sound of Detroit, early UK breakbeat, soul and the deeper realms of electronic music. Close To The Sun feels like more than just a cosmic position. A solid 808 foundation and loose percussion sit beneath a bed of synth lines and soaring pads that are guaranteed to stir the soul. The signal for nostalgia is strong but there are plenty more twists and turns to keep the listener engaged. Warped guitar and soul samples make Strat an infectious workout brimming with experimentation and originality. Effected chords take on an almost vocal quality which talks over the casual, understated funk on offer here. Ever changing tones draw you in and make it hard to distinguish between guitar, synth or human. A unique E.P. which will find its way into the sets of varying selectors at this summer’s gatherings.

Michael Forzza unveils Obscure, a two-track EP navigating the darker edges of atmospheric techno with precision and intent.

A) Obscure is a peak-time weapon built on powerful percussive drive and a commanding groove. The rhythm pushes forward with controlled intensity, locking the dancefloor into motion. As the track evolves, the rhythmic pressure gradually recedes, allowing a shadowed melodic atmosphere to emerge in the final moments, adding depth and contrast without losing its dark identity.

B) Torture ventures into a more industrial realm. Dense textures, mechanical tension and hypnotic repetition shape its core, creating a sustained rhythmic strain. Then, when the pulse finally withdraws, the structure opens into a striking melodic finale, transforming the track into a suspended, almost cinematic closing atmosphere.

With OBSCURE, Michael Forzza explores the fragile line between impact and introspection, pressure and release. A release crafted for intense peak-time moments and the shadows that follow.


Français

Michael Forzza dévoile Obscure, un EP deux titres qui explore les territoires les plus sombres de la techno atmosphérique avec précision et intensité.

A) Obscure est un véritable track peak time, porté par une puissance percussive affirmée et un groove implacable. La tension rythmique s’installe et maintient le dancefloor sous pression, avant de s’effacer progressivement en fin de morceau pour laisser émerger une atmosphère sombre et mélodique, apportant profondeur et contraste.

B) Torture s’aventure dans une dimension plus industrielle. Textures denses, tension mécanique et répétition hypnotique construisent une montée intense. Puis, lorsque la pression rythmique disparaît, le titre bascule vers une finale mélodique surprenante, transformant l’énergie brute en une atmosphère finale plus immersive.

Avec OBSCURE, Michael Forzza joue sur l’équilibre entre impact et relâchement, puissance et émotion. Un EP taillé pour les heures sombres et les dancefloors exigeants.

The Hacker teams up with Rein for ‘We Come Alive’ on Rekids. French producer The Hacker joins forces with vocalist, songwriter, and producer Rein for ‘We Come Alive’ on Rekids, arriving 19th June 2026. A longstanding figure within the underground, The Hacker helped shape the early electroclash movement through his analogue-heavy sound and influential releases on labels including Turbo Recordings and Dark Entries, while Rein has built an international reputation through a darkwave-influenced sound that blurs underground and crossover electronics, alongside releases on Boysnoize Records and live appearances with Front 242 and Nitzer Ebb.

Built as a tribute to the dance floor “We Come Alive” explores the feeling of liberation and connection that only exists late at night. Think an Alison Moyet-inspired vocal over stripped-back machine funk somewhere between LFO and Kraftwerk.” - The Hacker & Rein

The Hacker & Rein’s ‘We Come Alive’ pairs sharp, angular rhythms with punishing low-end pressure as acid lines twist through scintillating percussion and jacked-up drums. Amid the machine-heavy intensity, Rein’s vocals cut through the mix with clarity and emotion, lending a euphoric edge to the track’s raw, strobe-lit energy.

2026 Repress!

***
be on the watch.
there are ways out.
there is light somewhere.
***

Borrowing from the melody of Rah Band’s “Electric Fling”, Stefano Breda’s cover version completely re-invents the theme into what came to be a “Afro Cosmic” classic. Not your average Italo Disco sound, the downtempo chuggy beat quickly got picked up by pioneering jocks in the cosmic scene. With plenty of silence in between transients putting the spotlight on the multiple percussive elements employed by the skilful drum machine techniques of Breda along with trippy electric wind instrument sounds, resulting in an overall aesthetic of highly unforgettable mediterranean dreaminess, take a deep dive into Breda’s instrumental bliss. This release is remastered and further embellished with yet another previously unreleased mix of “Electric Fling” which was recently alchemized by the artist himself — the “Long Afro Version” which goes in the bonus beat realm with another study in his percussive generosities.

2026 Repress

Nørbak is back on HAYES with Passo Lento, five sparse, Orwellian exercises with concrete percussion and a soul-stirring, atonal approach to melody.