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When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.

Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.

Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.

As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.

This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.

For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.

Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.

Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.

Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.

Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.

Hot on the heels of the massive Grant Dell release, GEMS Delivers another slice of underground house excellence, continuing its relentless journey of showcasing both timeless and forward-thinking underground house music with a powerful new release from Gideon Jackson.

A 3 track EP featuring Helpless (Original Mix) — The standout cut from Gideon’s Outa The Blue EP (1996), capturing the raw, hypnotic energy of the era. Helpless (Freeform Mix) — A previously unreleased 1996 remix, unearthed from the vaults yet sounding as fresh and relevant as ever. Sales In the Wind — A brand new production (2025), proving Gideon remains at the top of his game with a refined yet unmistakable sound.

true underground figure, Gideon Jackson has been deeply embedded in the scene since the formative days of tech house. Renowned for his vinyl-driven approach to house and techno, Gideon blends styles seamlessly, creating a distinctive and instantly recognisable sound.

Widely regarded as one of the key pioneers of the London tech house movement, his productions helped define the genre’s early blueprint — fusing bass-heavy rhythms with hypnotic grooves. His work has appeared on respected labels including Loaded, Pagan, and his own imprint Outa The Blue.

After stepping away from the spotlight, Gideon resurfaced in 2017 with a standout podcast for Strange, reaffirming his influence and deep-rooted musical identity.

His long-awaited return to the decks came in October 2025 at Archivio presents Wiggle in New York, followed by a November appearance at Wiggle at Gaffe — marking a powerful resurgence for one of the scene’s original innovators.

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura

Music From Memory presents ‘Sleep Machines’, a new collaborative album from UK ambient pioneers O Yuki Conjugate and German producer and DJ Philipp Otterbach.

Formed in Nottingham in 1982, O Yuki Conjugate have spent more than four decades developing a singular approach to what they now describe as ‘dirty ambient’. Emerging from the post-punk DIY scene and drawing early inspiration from artists including Cabaret Voltaire, The Durutti Column and Jon Hassell, the group gradually carved out a space between post-industrial electronics, ambient music and Fourth World experimentation. Centred today around founding members Roger Horberry and Andrew Hulme, their work has retained an outsider sensibility throughout its many periods of activity and hibernation.

Philipp Otterbach approaches music from an equally open-ended perspective. As a producer, collector and DJ, his work moves freely between drone, dub, techno, house and electronics. His sets and productions share a fascination with unexpected connections, allowing disparate sounds to drift into one another through intuition rather than fixed genre boundaries.

‘Sleep Machines’ began with a chance meeting at The Gun on Well St. in London. Otterbach asked, “Would you be interested in doing a collaboration?”

“A collaboration? Sorry, we don't do collaborations,” came the reply.

“But wouldn’t it be fun?”

“We don't do fun either.”

Despite themselves, O Yuki Conjugate tentatively sent over an initial track. An avalanche of ideas quickly came back, and what began as an unlikely proposal developed into 18 months of recording, file-swapping, mixing and repeated reworking between the UK and Germany.

Produced by Otterbach, the resulting ten tracks bring together recognisable elements of both sides while gradually dissolving the lines between them. O Yuki Conjugate’s hazy atmospheres, dubwise spaces and tactile rhythms meet Otterbach’s instinct for strange detail, low-slung electronics and shifting forms. Rather than functioning as a collection of separate pieces, the album moves without gaps, unfolding as a single continuous work in which one environment slowly slips into the next.

‘Sleep Machines’ is both O Yuki Conjugate’s first collaborative album and an unlikely meeting point between two generations of musicians whose work has consistently existed at the edges of established forms.

Two Piers / Pavilion Records bring you the second instalment in a new series of 12” EPs called ‘Pavilion 12”s’ showcasing different genres and scenes. Put simply 4 x Killer cuts from the scene on Limited Vinyl pressings

‘Pavilion 12”s Volume 2’ features four cuts from the New Beat, EBM and Electro Industrial explosion of the late 1980s and is pressed on ‘Neon Acid’ coloured vinyl (limited 350 only pressing)


The Vinyl EP opens with the classic EBM track ‘Flesh’ by A Split Second, who were one of the pioneers of the Belgium New Beat underground explosion of 1987. Fellow Belgian New Beat exponents L&O deliver ‘Even now’, a staple in the Underground Electronic scene of the late 1980s. On the flip things take a more Electro Industrial turn with UK electronic industrial collective Nitzer Ebb’s seminal ‘Join in the Chant’, before Front 242 close things off with their EBM dancefloor monster ‘Headhunter (V1.0)’ – 4 Classic and hard to find New Beat & Electro Industrial Dancefloor bangers on one slab of 12” vinyl

K' Alexi Shelby is a prominent figure in electronic music with a career spanning decades. The cultivation of his massive music catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists like The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson and more. He makes a welcome return to COD3 QR with the jazzy house of opening track, "House Music de Chicago".

Voltaire has built his career through passion and a perfectionist approach to music, creating a richly emotional eclecticism, with inspiration from the pioneers of Detroit to the glorious electro decades of the 2000s and 2010s. Today he's a COD3 QR regular and released his debut album, "Echoes" on the label last year. He leans into the realms of house with a deep techy edge, for new track "Some House".

Finder is the alias of Radial (Jeroen Liebregts), originally from The Netherlands but today residing in Spain. He started mixing records around '98 and in 2002 teamed up with Bas Mooy to started the now legendary label, Audio Assault. He's also released on Token, Perc Trax, Mote-Evolver, Numb, Drumcode, Planet Rhythm, Mord, Will & Ink and MDR, alongside his label, Radial Records. As Finder he goes in a new direction with "Team Dream".

Benny Rodrigues a.k.a. ROD's other moniker, The Lost Souldancer has already seen him drop "No More Voices" and "Life and Death" for the label. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He returns with another emotional journey on "Magnolia".

Producer and manager of Slates Records, Squal G is a French artist who has been passionate about electronic music since the '90s. Initially a DJ, he soon turned to machines and computers. This enabled him to progress with his production and remixes. He never tries to stick to a single style, which, depending on his inspiration, can lead him to be more or less hard, while remaining in the spirit of techno. A popular COD3 QR regular, he's back with the intense techno of "Crackle".

French producer, DJ and live artist, Electric Rescue is world renowned. His productions have been signed on labels like Cocoon, Virgo, Arts, F Communications, COD3 QR, Soma, Sci + Tec, Boys Noize and his own Skrypto¨m. Ahead of his forthcoming artist album (to be released on COD3 QR in October) he closes the vinyl with the electro-tech and wonderfully wonky machine funk of "Internet Was an Illusion".

For the label's tenth physical release, Swiss artist Orphia joins the Flight Mode catalog with a four-track EP. Inspired by the pioneers of electro, the release carries a precise energy, a strong sense of purpose, and a touch of nostalgia.

A sprawling, meditative journey into inner and outer space, the new double album from Ivan The Tolerable sees Oli Heffernan retreat fully into the solo realm - crafting an expansive sonic world that feels both intimate and cosmic in scope. Recorded entirely alone and released via Riot Season, this latest work drifts away from structured forms and toward something more fluid, exploratory, and transcendent.
Drawing on the devotional atmospheres of early ambient pioneers and the hypnotic pulse of kosmische music, the album unfolds as a series of slowly shifting soundscapes—analog synths breathing in long, patient waves, tape loops dissolving into shimmering drones, and melodies that seem to emerge from nowhere before gently receding again. There are echoes of ritual, of vast landscapes, of time stretching and folding in on itself.
Across its two discs, Heffernan embraces a deeply immersive approach—less concerned with destination than with the act of drifting itself. It’s music that invites stillness and surrender, equally suited to deep listening or quiet disconnection from the noise of the everyday.
Unbound by genre yet rooted in a rich lineage of experimental sound, this is Ivan The Tolerable at his most introspective and transportive - a double album that doesn’t just ask for your attention, but your presence.

Originally composed by Collage in 1985, Herzschlag returns in a newly recorded cover version by Berlin-based synth-wave duo Bionda e Lupo. Describing themselves as a “boy/girl band like no other,” Lupo recreated the NDW-electro tune from the ground up using an impressive array of vintage instruments and studio equipment, including classic synths such as a Pro-One, a Roland Juno-60, and a Farfisa Syntorchestra. Bionda’s distinctive voice adds a new emotional depth to Katrin A. Kunze’s lyrics while still remaining true to the original spirit of the song.

Lupo of Bionda e Lupo has long been a devoted fan of Mit den Puppen tanzen, Collage's only release at the time, originally issued as a 12" single in 1984. Despite never managing to acquire an original copy, he considers the record unique within the German NDW landscape thanks to its unmistakable "Bravo-breakdance-meets-synth-pop" character. Indeed, Markus Kammann, Jürgen Grah, and Katrin A. Kunze drew significant inspiration from the electro-funk pioneers of the era, particularly Afrika Bambaataa's iconic Planet Rock. When we approached Bionda e Lupo about re-editing a track from the Collage's Motel d'amour release, they instead proposed recording an entirely new cover version.

Work on the project began in spring 2025 in coordination with Markus Kammann, who, together with Jürgen Grah, originally composed the music. Sadly, Kammann, born in 1958, passed away unexpectedly on October 17, 2025. This release is dedicated to his memory.
The liner notes reveal additional details about Kammann's remarkable life and achievements. He was the founder of the legendary Beatbox club in Wuppertal, which was once recognized as the "Best Club in Europe," and a co-founder of the Groove Attack record store. Groove Attack would later grow into one of the world's most influential music distributors, especially for Hip-Hop.

The 12" release is limited to 200 copies. Pressed on transparent red vinyl with black "smoke" effects, it comes housed in a picture-disc sleeve with an accompanying sticker. As an additional highlight, the record includes a previously unreleased NDW bonus track recorded around 1983 by Collage. It features Katrin A. Kunze as well as Thomas Kohl, the vocalist of Schwarze Bewegung.

- Red transparend vinyl with black smoke
- Housed in a picture-disc sleeve with large sticker
- Released in memory of Markus Kammann (1958-2025)
- Contains A4-sheet with liner notes
- 5 tracks, including the vinyl only bonus track "Hallo E.T.",
- Quality lacquer cut by Manmade Mastering

For their first release, it was pretty obvious for Hypnophone to give a new life to an all-time favorite but forgotten project : GLO. Released in 1995 on CD’s only, « Even As We » is the first and last album of the duo, composed of Stephan Lewry and Gilli Smyth, both ex-members of the legendary rock band GONG and pioneers of psychedelic music.

This double LP, carefully handcrafted and redesigned, is the result of a lovely 2 years collaboration between Hypnophone and Stephan. A cosmic, unique masterpiece, who also features a new thirteen minutes track, specially produced by Stephan while remastering the album in 2025. In the dear memory of Gilli ♡

Note: Includes two printed inner sleeves, transparent red vinyl and an A5 insert.

We All Jack – Part 2
Following the success of its inaugural vinyl release, We All Jack – Part 2 continues Heattraxx’s dedication to preserving and pushing forward the legacy of Chicago house music. This second chapter deepens the journey, bringing together foundational pioneers and trusted label family to expand the spirit of the series.

Leading the charge is an undeniable icon, Roy Davis Jr., an absolute legend whose influence on house music culture is timeless. His contribution brings soul, depth, and unmistakable Chicago authority to the record.

Joining him is DJ Merci, a Heattraxx resident and true family member, delivering a groove-driven remix that reflects both his long-standing connection to the label and his deep understanding of the dancefloor.

The release is further elevated by Jerome OR, whose refined, contemporary approach adds fresh momentum while staying rooted in classic house sensibilities, and Gettoblaster, bringing raw Chicago energy with their signature jackin’ sound and unmistakable attitude.

We All Jack – Part 2 is not just a follow-up—it’s a continuation of a vision. A vinyl series dedicated to house heritage, bridging generations, and carrying the Windy City spirit forward with respect, weight, and purpose.

Featuring rare- and first-on-vinyl tracks from beloved producers such as 2000 And One, Stasis, and CiM. Remastered by DMX Krew and with an accompanying online essay by Oli Warwick.

Across eight carefully selected slices of starry-eyed machine soul, Cold Blow presents an exquisite tour through backroom techno and downtempo electro. With a focus on thematic flow and an immersive listening experience, the London-based label explores works from leading lights of the 1990s and previously unreleased cuts that celebrate the human heart that can be discovered in synthetic sound practices. The development of techno in the 1990s saw the music evolve in different directions across the world. From the expressive blueprint laid out by the Detroit pioneers, a wide range of tempos and energies emerged. Techno's evocative synthesis and intricate drum machine programming was especially potent for deeper explorations away from the dancefloor. Documents Of A Different Reality casts back to when technology was steering quantum leaps in communication and creativity and the future was shot through with naive optimism. It was also a time when the media and industry hadn't caught up with the music to box it into distinct categories. As such, there's a sense of creative freedom that informs the older tracks on the album, from 2000 And One and Sandy Huner's sparkling example of early Dutch techno to London-based LA Synthesis' detailed take on braindance and the majestic night sky vision of cult legend Stasis. There's also space for rare, late 90s machine funk from Icelandic outlier Thor alongside Connective Zone's charmingly fractured bleep dream and a more contemporary offering from Barcelona-based duo Permutation. Meanwhile Mind Control and CiM both capture the spirit of stylistic fusion with twitchier rhythms that take influence from hardcore and jungle as much as techno. With an atmospheric through-line of melancholic pads and harmonious leads, this small but perfectly formed collection naturally follows on from previous, equally thought-out compilations on Cold Blow, and adds a distinct perspective on the history and continuing legacy of pioneering early ambient techno.

ABOUT PHONE ME TONIGHT

Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.

For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.

This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.

ABOUT LOBE MON AMI

Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.

The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.

ABOUT EKO ROOSEVELT

Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.

Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.

Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.

In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.

Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.

Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.

A mysterious artist pays tribute to Scandinavian dark synth pop pioneers, featuring reimagined versions of two cult classics.

Blending contemporary production techniques with the timeless atmosphere of the original recordings, the record offers a fresh perspective on these beloved tracks while preserving their distinctive vintage character.

Bridging past and present, celebrating the legacy of the genre's pioneers for both longtime fans and new listeners..

Some records are collections of tracks. Others are fragments of a life. I AM A CULT HERO is not a debut. It is a return to origin. Before Skylax Records. Before Los Angeles. Before the architecture of house music became clear. There was Sarcelles. Concrete towers. Invisible youth. Yet a coded multicultural energy where funk, soul, early hip-hop and primitive electronics coexisted before categories existed. Sarcelles was not Compton, but spiritually it was the same frontier.

95200 is not just a postcode. It is the birthplace of Hardrock Striker. 368 was the bus to the train station — the crossing line between isolation and possibility. Each journey toward Paris felt like entering another system. Those nights required discipline. Instinct. Strategy. Music was not distraction. It was structure.

Years later, Los Angeles revealed the hidden architecture behind those early intuitions. House music was not a genre but a living mechanism — built on vinyl culture, extended mixes, dubplates and repetition as language. That system had already been shaped and transmitted by pioneers such as Ron Hardy, Larry Levan, Frankie Knuckles, Electrifying Mojo, Hot Mix 5, Mark Kamins and Ron Murphy. Hardrock Striker did not imitate that language. He internalized it. The tracks on I AM A CULT HERO operate as transmissions.

Gospel For Dancers (95200 Mix / Dub) is vertical — ritual energy, lift and controlled expansion. Dance here is elevation. Erotic Loop (368 Mix / Dub) is horizontal — hypnotic repetition, circular bass motion and gradual immersion. Repetition becomes destination.

95200 and 368 are coordinates. Origin and transit. Memory and motion. Anchor and crossing.

From Sarcelles to Paris to Los Angeles to Skylax & now, back to the source.

This record closes the circle. Hardrock Striker has transformed origin into signal. Signal into structure. Structure into permanence.

A cult hero is not declared. A cult hero is revealed. Vinyl is the only truth.

Finetune — Impulse LP

Singeley Wax presents the third installment of the Russian Series — Finetune's "Impulse" album by electronic musician and media artist Mikhail Komisarov (Michael Dop), co-founder of Slowdance Records.

__About the Music

Finetune is a project through which Mikhail explores and experiments with a sonic palette encompassing ambient, electronic music with elements of jazz and neoclassical. His medium combines modular synthesis, acoustic instruments, field recordings, and deliberately crafted effect chains. He creates distinctive compositions that guide listeners through various emotional states.

The "Impulse" album brings together ten tracks of experimental electronica: hypnotic synthesizer sequences, polyrhythmic structures, cinematic textures, and subtly shifting modulations blend into sonic landscapes where time becomes relative.

__Art Concept

The album's visual identity is based on the multidisciplinary neuro-performance "Impulse," created at the intersection of art and neurotechnology in collaboration with neurovisualization pioneers NeuroLab, digital art studio STAIN (working with algorithmic abstraction since 2009), and physical theatre project "Dancing in the Dark" — Russia's only company featuring visually impaired artists.

During the performance, the brain activity of visually impaired dancers was captured in real-time via neurointerface and transformed into generative graphics. This visual content, born from electrical impulses of consciousness in moments of musical perception, became the foundation for the album's artwork — both static and motion graphics.

2026 Repress

For its third release, Tremendo Recordings brings together long-sought-after tracks by Corrie, one of UK tech house’s pioneers, drawn from his early releases on Wiggle and Bosh. Increasingly hard to find in their original form, these records return as a tribute.

Taken from releases between 2003 and 2005, this selection captures a side of Corrie that feels immediately recognisable: bold, playful and unmistakably his own.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

House favourites Kai Alce, JKriv, Sean McCabe and Medlar debut on Universo Positivo with their masterful reworks from Universo Positivo’s catalog. After two years of agenda-setting sounds, the label is set to drop this classy remix EP, and in that time, founder Joseph Salvador has established the label with a mix of his own music and fresh grooves from carefully A&R’d pioneers and new school names. He has been doing much the same since the 90s with various projects from his cult TINK Records and the Tomorrow Is Now Kid! nights in Amsterdam, in collaborative production outfits like Black Tulip & Wendell Morrison, and releasing records by DJ Steaw, Malin Genie, Fabio Monesi and more. This latest release brings together some of the most respected names in the scene for four standout reworks.

First up, Atlanta-based NDATL label head Kai Alce, who has long been one of deep house's most influential architects. He flips 'Sonido Latino' into a smooth groove with jazzy, Roy Ayers-style melodies that bring a soft-focus glow and late-night intimacy. Then comes Bristol-based don Sean McCabe, a master of vintage synths with a 20-year back catalogue on seminal labels like Local Talk, Strictly Rhythm and Z Records. His take on 'Ipanema Jazz' maintains the original's samba shuffle but reframes it in a deep house groove with extra expressive jazz keys, dainty chords and playful trumpet motifs.

Brooklyn-based groove architect and Razor-N-Tape co-founder JKriv brings his many years of experience as a guitarist, producer and songwriter to his take on 'Caparica Sunset'. It's a deep, driving sound that's playful and romantic with flirtatious horns and soft acid, dusty breakbeats and luscious grooves for loved-up good time sessions. Last but never least, is Medlar, the South London underground maverick with a wide-ranging sound and album credits on the likes of the hallowed Delusions Of Grandeur. He remixes 'U R The Revolution' into a warm, euphoric rush of throwback house that's warm, melodic and sure to get the floor going right off.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

What do we need now more than ever? Exactly, OPTIMISM. This is the place we long for, the solution we need, and also the name of DIGITALISM's new album, which will be released on May 29. German electronic pioneers DIGITALISM spread the urgent energy of OPTIMISM with their upcoming album and live performances all over Europe. A DIY spirit, in-the-moment energy and a low boredom threshold - all have been crucial to Digitalism's practice since they built their first track in a studio inside a WWII bunker in Hamburg, 20 years ago. OPTIMISM is the logical consequence of the band's steady development.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

To celebrate reaching its 50th Anniversary, electro pioneers Kraftwerk have announced three new editions of their landmark 1975 album Radio-Activity for release on 15 May 2026. Using the original 16-track master tapes, Kraftwerk founder Ralf Hütter with engineer Fritz Hilpert have created a brand-new Dolby Atmos Mix which takes Kraftwerk’s first all-electronic album and brings vivid new shading, forensic detail and richly layered cinematic depth to the most boldly experimental album in the Kraftwerk catalogue.



The new Dolby Atmos Mix is available as a Blu-ray audio disc and digital release, and the stereo album is pressed as a stunning vinyl picture disc featuring updated artwork.

Single picture disc vinyl LP in a spined sleeve, with die-cut to front cover, shrinkwrap, mktg. sticker.

LP Transparent Purple Vinyl in Picture Sleeve

The essential debut album from Chicago’s disco-funk pioneers, featuring the timeless “Free Man,” returns fully remastered from the tapes of Tom Moulton for RSD 2026. Produced by Philly soul legends Bunny Sigler and Bruce Hawes, this record bridges Chicago’s raw energy with Philly’s orchestral elegance. Essential for any collector serious about the roots of disco and dancefloor culture — an all-killer, no-filler LP that sounds fresher than ever today. Remastered and Redesigned labels and sleeve, Transparent Purple Vinyl.

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. This first additional EP brings four tracks, by Dutch pioneers Spasms and Random XS, and Chicago heavyweights Mike Dearborn and Gene Hunt. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

Laurant Webb, Dave Coker, Justin Bailey and Dave Pine were the driving forces behind Strange Weather Studios. Based in Southeast London, the studio served as a creative hub, playing a pivotal role in shaping the sound of a groundbreaking genre. Alongside close friends and collaborators, they produced a series of influential records that have left an indelible mark on the music landscape.

This release is a heartfelt tribute to Strange Weather Studios and the talented individuals who brought its magic to life. It also honours the studio’s production partners though iconic projects such as Housey Doingz, 7th Voyage, Space Bunny, Get Fucked and Green Eyed Monster. These projects that were instrumental in forging the signature, original London Tech House sound.

The tracks on this record have been handpicked by Laurant Webb and Yossi Amoyal, meticulously restored and remastered from the rare original DATs.

This release marks a significant milestone for London Tech House, symbolising a collaboration between its key pioneers and a label that evolved alongside the genre. It’s an organic partnership that celebrates the past and looks towards the future. A project we’re incredibly proud to share with you

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

After two co-headlining tours over the past decade, (the) Melvins are continuing their long tradition with us of teaming up with another band on an album. Next up – Napalm Death! This isn’t just some split release with the bands each getting a side. Savage Imperial Death March is a full collaboration with both Melvins & Napalm Death playing together on all the tracks.


This release originally came out on super-limited CD and vinyl via AmRep in 2025 (tour and AmRep store only). This will be an extended version with 2 extra songs, brand new artwork from Mackie Osborne, new vinyl variants, and will be the official release for the first time at record stores, DSPs and more.


Napalm Death are credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal. Even after exerting an indelible influence on the entire world of heavy music for nearly 40 years, there is still no band on Earth that sounds like Napalm Death. Not just pioneers, but an enduring benchmark for invention and fearlessness in heavy and experimental music of all kinds, the Birmingham legends are still hurtling forward at full pelt.


The Melvins are one of modern music’s most influential bands. Having formed in 1983, the group — founded by vocalist/guitarist Buzz Osborne, with drummer Dale Crover joining a year later — has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all their own. Over their 40-plus-year career, they’ve released more than 30 original albums, numerous live records, and far too many to count singles and rarities.

Nu Groove spotlights the artists that made this cult NYC label a favourite of crate diggers then and now with this special vinyl release of their vital tracks revisited by leading selectors of today. The label, born in 1988 by Frank and Karen Mendez as an outlet for the experimental works of the Burrell Brothers, quickly became a home for up-and-coming genre pioneers. ‘Nu Groove Edits, Vol. 8’ opens with DJ Steaw’s Autumn Reshape of ‘Window Guards’, originally by N.Y. House’n Authority - a moniker of Rheji Burrell. Next up is Steve Mac’s remix of NYC favourites The Sound Vandals’ ‘Tonight’s The Night’, followed by another seminal N.Y. House’n Authority record, ‘APT. 3B’ remixed by Dazzle Drums. A third track from the mind Rheji Burrell closes out this vinyl collection of future record box staples, with Seamus Haji reworking The Utopia Project’s ‘File #1’.

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

Addict Records is a French label with a retro-futuristic aesthetic, inspired by Detroit and its pioneers.
Founded by David Ferret, aka DFXRADIO, it blends House and Deep Techno with influences from Northern Soul, Jazz Funk, and Disco, in a human and analog approach. Its first EP, “Midnight Echo”, explores the connection between mechanics and emotion, between machines and groove, celebrating an authentic sound inspired by the 90s and the roots of Afro-American music.