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Anxiety Therapy Berlin celebrates its fifth anniversary with its first-ever vinyl release: a special EP by Gingerblack featuring remixes from Sharokh Dini and Luna City Express.

The release showcases Gingerblack's deep and soulful sound, highlighting the duo's powerful and emotive production, complemented by two exceptional remixes from longtime Berlin friends Sharokh Dini and Luna City Express.

After three original releases so far, two on his own label Human Endeavour, sonic alchemist Acoustic Vision features on Prozpektiva.

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

Polish rapper Wiktor Zapala aka Abel has been laying down albums and EPs for 20 odd years and now features on a new 7" with apparent production debutants Sheak and RareMatthew for Milkshake Mondays. He takes care of the A-side with 'Livin' Fast', a low slung and unhurried jam with elastic bass stretched between lazy, slouchy beats with storytelling and classic-era bars unfolding up top. Sheak/RareMatthew completely flip the script on the B-side with 'La Murga,' a Latin-flavoured sound with Spanish vocals over a live instrumental topped with horns and carnival atmospheres. Two equally effective tunes.

The long-awaited new vinyl release from Daniel Broesecke features three original tracks and one remix by Ki.Mi., delivering a technically precise and energetic deep-tech statement. Built for the club yet flexible enough for any moment in a set, the record balances drive, groove, and atmosphere with confidence. Side A focuses on modern, immersive deep-tech — forward-moving, hypnotic, and immediately engaging. Side B explores broken rhythms, controlled tension, and deeper movement, closing with a distinctive reinterpretation by Ki.Mi. that adds a new perspective while preserving the core energy of the release. VAM13 isn’t just another vinyl — it’s a focused, cohesive label gem with a strong signature sound. A reliable companion for DJs and a powerful addition to the Afterme catalogue.


Kashatskikh Studio Mastering
Design & Illustration by Kirill Kashatskikh

Welcome back, hope you've had a good trip so far. While we're digging global tunes, let's not forget what's cooking in our own yards. No less then a new dub don has risen from the wastelands of bratwursts, nutcrackers and garden gnomes: Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solarpowered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!
Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.
Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.
Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Some records suggest another version of themselves.

STRIKER SECRET SERVICE is an anonymous white-label series built around that possibility.

For SSS001, Hardrock Striker takes “I Feel So Free” into different territory. Across twelve minutes, the track is dismantled and rebuilt around the pulse of late-'70s electronic disco: sequenced bass, repetition, tension and gradual release. Familiar elements remain, but the arrangement opens out, the machinery takes over and the vocal slowly becomes part of the rhythm itself.

On the reverse, the full instrumental reveals the machinery underneath : an extended DJ tool built for long blends, layering and late-night sets.

Pressed on heavyweight 180g Milky White vinyl, housed in a clear poly sleeve with the STRIKER SECRET SERVICE sticker.

Vinyl only.
No repress.

Savor Music celebrates a landmark 15 years in the scene with a three-part compilation series. This second installment continues the momentum, bringing together a powerhouse selection of artists that define the label's sophisticated, groove-oriented sound.

Side A opens with a major track on A1, as Dani Labb unveils a hypnotic Detroit meets Aphex Twin spiritual bomb. This track serves as a masterclass in production, delivering a fluid, dark room ready flow. Following this, A2 showcases the refined artistry of Cosenza, who brings a groovy funky stylish number to the record. His contribution is characterized by an infectious energy that keeps the groove effortlessly sophisticated.

Side B shifts into deeper territory, starting on B1 with Franco Cinelli teaming up with Lucio de Rosa for a classy subtle morning piano house track. True to their reputation, they deliver a detailed number that showcases the technical precision and steady momentum for which they are renowned. Finally, B2 rounds out the EP with a deeper hypnotic track by Shine On You boss, Travis. Combining unique creative perspectives, Travis weaves together profound atmosphere and mysterious depth while keeping a steady groove to close out this chapter.

Mr. K tackles a pair of extended 80's instrumentals down into his characteristic tight, DJ-friendly 7" edits. First up is Klein & MBO’s Italo-disco landmark 'Dirty Talk'. The Milan-via-New York production trio’s 1982 cut has long been recognised as one of the foundational Italo records, its stark, tightly locked bassline and 808 groove a foreshadowing of pop and house sounds to come (indeed, a year after its release the groove was lifted almost wholesale for New Order’s 'Blue Monday'). Mr. K strips the original’s down to the essentials, keeping the irresistibly hooky synth pulse front and centre while trimming the fat for maximum impact.

On the flip is Supertramp’s surprise 1985 club crossover 'Cannonball', a dancefloor curveball still in regular rotation with the deepest DJs. Intentionally written to stay entirely in one key as an experimental exercise by the band, the track’s hypnotic drive unwittingly echoed the tough, four-on-the-floor sound of early house and, via the original 12-inch single’s epic ten-minute instrumental mix, slotted in perfectly alongside underground cuts of the era. Mr. K’s edit leans hard into the pounding keyboard and the bursts of brass crescendos that build on top of it, giving the sought-after instrumental version its first-ever appearance on 7-inch. Impressive sound quality on both tracks!

Duncan Thomas delivers the goods with a stripped-back, chord-led heater built for those Sunrise/Sunset moments.

Skippy grooves, slick keys and ever dreamy chords in true Dunc fashion.
Pure steeze, front to back. Dive in.

The Doobie Brothers faced a serious predicament as they prepared to record Takin’ It to the Streets. That the group navigated a potentially serious personnel problem that would’ve tanked lesser bands and scored its fourth straight Top 10 album — while again expanding its range — speaks to the collective’s chemistry, broad-mindedness, and songwriting abilities. Known as the effort on which vocalist-keyboardist Michael McDonald makes his debut, the 1976 set stands as an all-encompassing representation of the various styles the Doobie Brothers explored during their heyday.

Sourced from the original analog master tapes, mastered by engineer Krieg Wunderlich, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP presents Takin’ It to the Streets in definitive sound. Given the luxurious room of a 45RPM version for the first time and benefiting from the wider grooves, the music unfolds amid large soundstages replete with ultra-quiet backgrounds, big dynamics, and accurate imaging. By then a key component of the Doobie Brothers' success, Ted Templeman’s production is brought to light with stellar clarity and definition.

As is the case on Mobile Fidelity's four other acclaimed Doobie Brothers 45RPM reissues, myriad facets that help make Takin’ It to the Streets timeless, natural, and organic — minimal overdubs, voices that realistically rise and fall, notes that properly carry and decay, warm tones, bass lines that pop with color, well-placed percussive accents, defined separation between the players — emerge with incredible presence, openness, and fullness. Nothing is overdone or out of place. No small feat given Templeman and company didn't know how everything would unfold when they first met up in Southern California.

Confronted with a change in plans by co-founder Tom Johnston, whose contributions to the band up to that point in its career identified him as an indispensable member, the Doobie Brothers were thrown for a loop when he curtailed pre-planning work and retreated home to deal with ongoing health problems. Thankfully, Jeff "Skunk" Baxter, the group's newest full-time recruit, had a possible solution in his former fellow Steely Dan colleague McDonald. The singer-keyboardist had already sat in with the Doobie Brothers on their recent tour. So, why not give it a shot?

McDonald's prodigious talents notwithstanding, he couldn't technically replace Johnston. For starters: McDonald's soulful timbre bore little resemblance to Johnston's grittier voice. And McDonald played keyboards, not guitar. No wonder Templeman initially expressed reservations. He also knew the Doobie Brothers needed additional material before they could consider wrapping the record. Yet the skepticism began to dissipate on the first day of the sessions. Still waiting for second drummer Keith Knudsen, the band gathered in the studio with former roadie Bobby LaKind on congas and Little Feat drummer Richie Hayward for a live run through "Wheels of Fortune." The instrumental parts of that take landed on the record. Johnston would even return to share the lead vocal duties with Patrick Simmons.

Those magical results, and the experience of hearing McDonald woodshed the title track at the piano, turned Templeman into a believer and cheerleader. Spurred by their veteran producer's encouragement and McDonald's ideas for songs, the Doobie Brothers embraced new directions just as they did after their debut LP and on subsequent efforts with orchestral and horn treatments. The latter return on Takin’ It to the Streets courtesy of the five-piece Memphis Horns. Yet outside of viola accompaniment on "Losin' End," string elements step aside in favor of McDonald's pianos, synthesizers, and clavinet. And, on five cuts, lead singing.

As the new face of the band, McDonald ended up crafting all or portions of four tunes. His fingerprints are all over two of the singles, including the jazzy, blue-eyed-soul delight “It Keeps You Runnin’” and irresistibly melodic title track, which cracked the Top 15 and became one of the Doobie Brothers’ signature numbers. He and Baxter’s penchant for smoothness, and a precursor to the band’s coming transition into rhythmically oriented yacht rock, informs the brassy sway of “Carry Me Away.”

Further enriched by Tiran Porter’s gorgeous, time-signature-shifting ballad “For Someone Special,” Simmons’ peppy, spring-loaded “8th Avenue Shuffle,” and Johnston’s “Turn It Loose” — the move-your-feet boogie serving as kind of apt farewell to the band’s prior rock ‘n’ roll sound — Takin’ It to the Streets spun uncertainty into gold. Altered yet unbowed, the Doobie Brothers once again offered countless listeners “the best kind of remedy” with feel-good music that holds up amid any era.

Devo Marries Gritty Guitars with Expansive Keyboard Canvasses on Duty Now for the Future:
Transitional Album Furthers the Band’s Satirical Stance, Includes Cover of “Secret Agent Man”
Hear the 1979 Record in Audiophile-Grade Sound and at 45RPM for the First Time:
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set
Benefits from Enhanced Definition and Presence
1/4” / 15 IPS Dolby A analogue master to DSD 256 to analogue console to lathe

“Pop music needs a big enema.” Devo created Duty Now for the Future with that mission statement, relayed to the press by co-founding bassist/vocalist Gerald Casale, in mind. Though unfairly pegged by some as an example of the common sophomore slump, the record spurred the group’s interest in electronic instrumentation, extended its penchant for biting social satire, and contained another transformative cover song in the form of “Secret Agent Man.” Above all, the 1979 work proved the Ohio pranksters were anything but a joke even if they would have to wait one more year until for their mainstream breakthrough.

Sourced from the original master tapes, mastered by engineer Krieg Wunderlich, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 45RPM 2LP set presents Duty Now for the Future in audiophile-grade sound. Benefitting from the extra groove space on this first-ever 45RPM version, it plays with enhanced definition, deep-black backgrounds, and ultra-quiet surfaces.

Though certain band members later expressed regret with some of his decisions, the merits of Ken Scott’s production emerge like never before. A lurking edginess serves as a signpost in Devo’s progression before it fully embraced keyboards as a primary tool. Guitars possess punch and grit and, along with the crisp arrangements, are sharpened with an ear toward accuracy and vibrancy. It all helps give Duty Now for the Future a direct immediacy that answers the complaints of listeners who felt the affair too processed or sterilized.

Notably, a majority of the material here stems from the same grab bag of songs Devo banked before Warner Bros. signed it to a deal. The album marks a capstone to Phase One of a career that for all intents and purposes began in 1973. And just like many of the group’s performances of that era, Duty Now for the Future remains just as famous for the critical disdain it inspired as the music itself. A vicious review in Rolling Stone — the very publication that a few decades later would trumpet the band as one of the most important of its age — ended with the writer offering to send readers shards of the LP he planned on smashing to bits.

Perhaps he just needed to experience this new-wave effort with the restored sound that makes everything now feel so explosive and urgent. Whatever the case, the songs hold up and, amid a contemporary period which gives increasing license to artificial intelligence and behemoth conglomerates, seem more apt than ever before.

Consider “Blockhead,” which skewers the predictable appearances and numb-to-the-world actions of a rule follower. Or the similarly themed “Clockout,” an uptempo ditty whose thumbing-its-nose bravado and sardonic lyrics send up corporate culture with an irresistible smirk. As for the wiry, hard-hitting urgency of “Wiggly World” and Mark Mothersbaugh’s loud declaration that “They say the fittest shall survive/Yet the unfit may live”: Evidence these art-school rabble-rousers still had some punk fury to flush out of their system. And the sincere allure of the charged power pop and wishful circumstances of “The Day My Baby Gave Me a Surprize” cannot be denied.

To point to an interesting bit of history that makes Duty Now for the Future all the more intriguing, particularly for the most committed Spuds, more than half its tracks were selected for Greatest Misses — a 1990 anthology that celebrates lesser-known cuts and functions as a rejoinder to a hits compilation from the same year. (The only track from the 1979 album to make the “hits” disc: “Smart Patrol/Mr. DNA.”)

Indeed, tunes like the riff-driven albeit controversial “Pink Pussycat,” atmospherically twitching “S.I.B. (Swelling Itching Brain),” and ceremonial instrumental “Devo Corporate Anthem” may lack the catchy appeal and all-together coherence of what follows on the group’s third and most commercially successful effort, Freedom of Choice. Yet in order to get there, to de-evolve if you will, the band needed the smorgasbord that is Duty Now for the Future.

Dig in.

Move in Stereo: The Cars’ Eponymous Debut Album Functions as a Greatest-Hits Set with Classics Such as "You're All I've Got Tonight," "Good Times Roll," and "Just What I Needed"
Experience the Six-Times-Platinum Record in Definitive Sound on
Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set:
Strictly Limited to 4,000 Numbered Copies,
It Plays with Reference Definition and Presence
1/4” / 15 IPS analogue master to DSD 256 to analogue console to lathe.

Among the most critically and commercially successful debuts in history, the Cars' eponymous album doubles as a greatest-hits collection. Not one song on it is widely unrecognized or unknown. Consider the list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." “Bye Bye Love.” Just call The Cars the best new-wave rock album ever made. And a natural candidate for preservation on a Mobile Fidelity UltraDisc One-Step pressing.

Sourced from the original analog tapes, pressed at Fidelity Record Pressing in California, mastered by engineer Krieg Wunderlich, and strictly limited to 4,000 numbered copies, MoFi’s UD1S 180g 45RPM 2LP box set presents the six-time platinum record in the most vivid, wide-spanning, three-dimensional sound it has enjoyed on vinyl. Compared to the label’s outstanding and out-of-print 180g 33RPM version, this collectible edition features richer textures, broader openness, greater presence, and bigger dynamics.

Benefitting from the extra groove space on 45RPM by playing with enhanced definition, deep-black backgrounds, and ultra-quiet surfaces, this reissue portrays the band’s oscillating rhythms, futuristic keyboard passages, and panned images with stunning realism. Songs take on an absolutely surreal quality. The Cars and producer Roy Thomas Baker manipulate arrangements at will to mesmerize listeners' senses. The concept of "moving in stereo” has likely never been truer.

The industry-leading packaging of the UD1S set gives fans another reason to gravitate towards the 1978 album. A deluxe slipcase, two foil-stamped jackets, faithful-to-the-original graphics, and MoFi inner sleeves make for a premium tactile experience. It invites you to immerse yourself in everything about the record, including the now-familiar cover art depicting Nataliya Medvedeva behind the wheel. Enhanced by her glistening ruby-red lips, her face flashes an expression caught between surprise, ecstasy, and disbelief — an apropos way of responding to The Cars whether you’re hearing it for the first or 1,115th time.

Introduced in 2024 into the National Recording Registry for its significance, and ranked the 353rd Greatest Album of All Time by Rolling Stone, The Cars explodes with emotion, energy, and hooks. Its songs unite then-disparate styles: bubblegum melodies, art-rock angularity, progressive structuralism, terse minimalism, and power-pop sheen. The stylish arrangements also benefit from a laidback cool and understated irony that remain uncommon in the world of contemporary mainstream music.

Equally rare is the deep chemistry the members shared before they entered London’s AIR Studios and knocked out the record in less than a month. Benjamin Orr and Ric Ocasek began their first band together in the early ‘70s. A subsequent group with future Cars keyboardist Greg Hawke preceded Orr and Ocasek bonding further by temporarily performing as a duo. One final pre-Cars ensemble, Cap’n Swing, brought guitarist Elliot Easton into the fold. A decision by Ocasek to take the band in a rock direction, a crucial lineup shuffle, and a name change begat the Cars so many listeners know and love.

Already a going concern in Boston, the quintet cut its teeth and woodshopped songs for nearly a year and a half before signing with Elektra and partnering with Baker. The Cars enjoyed success right out of the gate, hitting No. 18 on the Billboard Top 200 chart and netting a pair of Top 40 singles in the form of “Just What I Needed” and deceptively happy “My Best Friend’s Girl.” The sarcastic “Good Times Roll” climbed to No. 41, but soon enough, almost every track on The Cars became a radio staple — an honor far more meaningful than chart positions.

Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced tunes with delightful and quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses. Orr's low, nuanced deliveries and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by synthesizer flourishes and electronic beats.

Accessible and eccentric, edgy and catchy: The results comprise a landmark whose characters come to vivid life with nuclear boots, dry-drip gloves, ribbon-festooned coiffures, suede-blue eyes, and rock ‘n’ roll hair. It's practically impossible to avoid humming along to every song, all enhanced by Baker's stellar production. Best known for his work with Queen, he ensured the record packed a punchy midrange, opened up with instrumental and vocal separation, and breathed with airy harmonies.

Indeed, from the timeless music to the sleek production and sonic restoration, The Cars on UD1S is just what you needed.

The relationship between Tech House legend Terry Francis and Sushitech has given birth to something truly special over recent years, reigniting a whole movement centred around the timeless, classic UK acid tech house born in late ’90s London. This signature sound laid the foundation for iconic venues like Fabric in their early days and went on to inspire the subgenres that followed.

Among Terry’s deep back catalogue are a rare few tracks that can truly be described as legendary, and ‘Free’ is undeniably one of those stone cold classics. Originally released in 2003, it is a soulful tech house masterpiece crafted by an artist with an intimate understanding of the movement and the unspoken bond between the DJ and dance floor during long nights. Driven by a relentless, infectious rhythm, an unmistakable bassline, and powerful vocals reminiscent of Massive Attack, it’s a track designed to create unforgettable moments on the floor, something those who know Terry’s legendary sets at Fabric understand all too well.

This special reissue also features two additional rare soulful tracks produced alongside Ricardo Afonso, who contributes his distinct, emotive vocals, as previously heard on cuts like ‘Change’ and ‘Rhythm Spirit’ from Terry’s last LP.

Remastered and pressed on heavy 180g vinyl to the highest audiophile standard, this release showcases soulful tech house at its abso

The relationship between Tech House legend Terry Francis and Sushitech has given birth to something truly special over recent years, reigniting a whole movement centred around the timeless, classic UK acid tech house born in late ’90s London. This signature sound laid the foundation for iconic venues like Fabric in their early days and went on to inspire the subgenres that followed.

Among Terry’s deep back catalogue are a rare few tracks that can truly be described as legendary, and ‘Free’ is undeniably one of those stone cold classics. Originally released in 2003, it is a soulful tech house masterpiece crafted by an artist with an intimate understanding of the movement and the unspoken bond between the DJ and dance floor during long nights. Driven by a relentless, infectious rhythm, an unmistakable bassline, and powerful vocals reminiscent of Massive Attack, it’s a track designed to create unforgettable moments on the floor, something those who know Terry’s legendary sets at Fabric understand all too well.

This special reissue also features two additional rare soulful tracks produced alongside Ricardo Afonso, who contributes his distinct, emotive vocals, as previously heard on cuts like ‘Change’ and ‘Rhythm Spirit’ from Terry’s last LP.

Remastered and pressed on heavy 180g vinyl to the highest audiophile standard, this release showcases soulful tech house at its abso

"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."

2026 Repress

Polygonia & MTRL - Division / Taris EP incl. Remixes by Claudio PRC and Mary Yuzovskaya

A1. Polygonia - Division
Right from the start the listener is cast into orbit with driving percussion and abstract sound effects. Soon they are followed with a morphing bass sound and cymbals which lock the groove into place, cranking the drive to the max. As the track progresses the landscape of sound reveals its nature with metallic quality, like schrapnel from a barren city. Truly a Deep Techno banger which will without a doubt fill a dance floor.

A2. MTRL - Taris
The listener is slowly submerged into the waves of percussive bass sounds and menacing sweeps of noise which remind of a storm in a desert, the horizon only slightly glimmering behind the veil of sand. Soon the listener is introduced with a pounding kick drum, almost making the landscape seem even more ruthless as the track progresses.
Quality, heady Deep Techno.

B1. Polygonia - Division Claudio PRC Remix
The hypnotic Techno maestro Claudio PRC twists the idea of the original track into a mind explorative voyage with a triplet feel. The remix is shrouded in melancholy with distant pad sounds, which add a nice tension to the track. As usual, a brilliant remix from Claudio PRC.

B2. MTRL - Taris Mary Yuzovskaya Remix
On the remix the Berlin based producer is molding the source material into a driving and psychedelic track, functional yet synapse tingling. Now the bass has a bit more liquid-like quality and the overall soundscape is more abstract. Hallucinatory effects of noise are filling the spaces between the sounds, almost like being surrounded with faint whispers. Driving and psychedelic Deep Techno done with finesse.

Words by Latmos

MUSIKOMMT Volume One is a new vinyl release on Tractorecords, featuring four tracks by Francesco Passantino, The Rhythm Vision, Pogo and Sera.
MUSIKOMMT represents a Berlin-based hub for artists, events and collaborations dedicated to analog electronic music, live performance and vinyl culture.
The A-side opens with “Novembrina” by Francesco Passantino, followed by “Live Psychedelica” by The Rhythm Vision, a trio of musicians who create real-time analog live jams. The track is taken from a live recording at Club der Visionaere in Berlin and features a vocal insert by Rick Ellis.
On the B-side, Pogo presents “Shoutin’ Girl”, while Sera closes the release with “Stasera”.
A direct snapshot of Berlin’s analog scene, shaped by improvisation, machines and underground culture.

Ritacco & Igna, the minds behind Toscal Records, land on SPHERART Records for KUNST003. PICHT POINT EP delivers four groove-heavy cuts, driven by rolling rhythms, playful details and straight-to-the-floor energy. From “Picht Point” to “Express”, the formula stays clear: no detours, just groove.

Relieves debuts with its very first release, “Layers 1,” a timeless journey into house music with old-school and minimalist undertones on vinyl-only format. This foundational first chapter comes to life under the direction of producers Ronan Portela and Ariel Rodz, the label owners, who join forces with Franco Cinelli and Jorge Savoretti to solidify the sonic identity of this compilation.

On the A1, "Unison" by Ariel Rodz showcases his signature sound engineered for the dance floor, featuring wrapping basslines, percussive rhythms, musical textures, and a hypnotic groove inspired by the West Coast wave.

Followed on the A2, Franco Cinelli takes the reins with his remix of "Unison," delivering a track of his minimalist footprint with perfectly defined elements and that organic, characteristic sound that defines him.

Opening the other side on the B1, Jorge Savoretti delivers "Speziale Spaziale," a piece that radiates his signature aesthetic by flawlessly blending dancefloor flow and purist sounds with soulful melodies inspired by classic house.

Finally, the closure of this compilation arrives on the B2 with Ronan Portela's remix of Jorge's track, showcasing his rawest house music persona where he fuses percussive rhythms, synths, and a baseline that drives great dynamism and character into the end of the record.

CRF020 — Jiman returns on the label.For his second EP on Construct Re-Form, the northern French producer delivers four deep and finelycrafted techno tracks. Slower tempos, dense atmospheres, precise sound design — Jiman keeps itraw and focused.On remix duties, Polar Inertia pushes the tension even further with a cold and immersive rework.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

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

Prose of Days, Poetry of the Moment presents four refined explorations of Deep Tech House from long-standing MixCult affiliates and genre veterans. Blending fluid grooves, spacious dub atmospheres, and memorable melodic elements, the EP delivers a sound that is both sophisticated and deeply immersive.

Opening the release, Lava Lungs by Kirill Matveev and Nikdo sets the tone with evolving textures and hypnotic grooves. What's Left After You follows with a more introspective mood, allowing subtle harmonies and dub-infused atmospheres to unfold naturally.

On the B-side, Ambivalent 1 balances intricate rhythmic detail with playful, dancefloor-focused energy, while Adria Duch's Why You Mad (Matveev Rework) closes the record with a vibrant and hypnotic blend of melody, groove, and contemporary Deep Tech House aesthetics.

Rooted in the fluidity of modern Deep Tech House and inspired by the melodic sensibility of the Acid House era, Prose of Days, Poetry of the Moment reinterprets familiar influences through a contemporary lens, offering a refined and forward-thinking contribution to the evolving language of underground electronic music.

Adlibitum Tum Tunes is a division of MixCult Records.

Prose of Days, Poetry of the Moment presents four refined explorations of Deep Tech House from long-standing MixCult affiliates and genre veterans. Blending fluid grooves, spacious dub atmospheres, and memorable melodic elements, the EP delivers a sound that is both sophisticated and deeply immersive.

Opening the release, Lava Lungs by Kirill Matveev and Nikdo sets the tone with evolving textures and hypnotic grooves. What's Left After You follows with a more introspective mood, allowing subtle harmonies and dub-infused atmospheres to unfold naturally.

On the B-side, Ambivalent 1 balances intricate rhythmic detail with playful, dancefloor-focused energy, while Adria Duch's Why You Mad (Matveev Rework) closes the record with a vibrant and hypnotic blend of melody, groove, and contemporary Deep Tech House aesthetics.

Rooted in the fluidity of modern Deep Tech House and inspired by the melodic sensibility of the Acid House era, Prose of Days, Poetry of the Moment reinterprets familiar influences through a contemporary lens, offering a refined and forward-thinking contribution to the evolving language of underground electronic music.

Adlibitum Tum Tunes is a division of MixCult Records.

Pirka returns with Messages, a four-track vinyl EP from Sibiu master craftsman Mihai Popoviciu, a producer whose name has long been synonymous with architectural restraint and functional minimalism.

Rather than chasing transient club trends, Popoviciu delivers a masterclass in texture, micro-groove, and spatial awareness. Messages captures an artist at his most refined, balancing analog warmth with clinical, late-night precision.

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

PLAYED BY SVEN VÄTH

Nobody thinks it is strange anymore that an artist changes his nom de plume to reflect a new direction; a metamorphosis of his art. As listeners, we must resist the temptation to compare a new expression with previous works but instead allow the artist the necessary leeway to follow where his muse leads. So it is with Lone Wolf & Friends. There is a departure from his previous work that is his alone to define. We are simply recipients and must let the work wash over us like waves on the beach and be slightly moulded by the force of each one.

By definition, a Lone Wolf has no friends so we are left with the nagging question of why the name has significance. Perhaps Lone Wolf’s friends are his previous artistic incarnations and although he alone created this work, those earlier versions were there to encourage his creative drive. We are never truly loners, are we?

Written, composed and produced in Vancouver, Canada, by Lone Wolf & Friends.
Mastered in Groningen, the Netherlands, by Johanz Westerman at Balyhoo Studio Mastering.
Designed in London, UK, by Irene Fo + Agente Morillas + Positivland.

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

At the end of the project’s 20th anniversary celebrations, ROME tolls in the next era of the band with a fresh and visionary album: ‘The Tower’.  ROME’s new and ever more mature sound is informed by a radically minimalist folk approach, with nonetheless charmingly lush arrangements. ‘The Tower’ is an introspective and enigmatic work at whose centre stands nothing less than ROME’s raison d’etre: The Great Work and the sacrifices both necessary and essential on the demanding path to light. As an unreachable bulwark against the general decline of every value in life, the tower would have been erected long ago to defend the coast.

It would have been raised on a rocky platform resting on the sea floor. It would have been joined to the continent by a thin tongue of sand. It would have offered a heroic, magical point of view. A place for our claim to know and point out vaster horizons. It would have stood firm on the ramparts. This isolated tower would not have been just a refuge for more or less mystic escape, but also a post of resistance and combat.

Recut & Represed!

As always Kling Klong gives space for new artists and supports upcoming talents. This time Martin Eyerer & Rainer Weichhold had no doubts signing this debut release from Stuttgart's dj/producer Ninetoes as 'Finder' is obviously a massive stand-out track which has the words 'summer hit' written all over it. So it was just easy to convince Leon and Re-UP from Italy to do the remixes and help to make this release even more oustanding.

Support from:

Matthias Tanzmann, Loco Dice, Adam Beyer, Nick Curly, Butch, Riva Starr, Popof, Kaiserdisco

DJ Feedbacks:
Adam Beyer: like the leon mix!
Loco Dice: Will try. Please send me the WAV. Thanks
Nick Curly: schöner release....leon remix gefällt mir am besten, danke!
Matthias Tanzmann: woher kenne ich denn die Melodie Coole Tracks auf jeden Fall.
Davide Squillace: Nice one..
Monika Kruse: der leon remix rockt.
Tiefschwarz (Ali): nice nice :) re-up rmx is my favorite.
Butch: leon rocks
Riva Starr: leon rmx for me thx
Claptone: supersonniger tune das original
Ramon Tapia: Leon mix is cewl !
Gregor Tresher: Leon mix sounds cool.
Chus: Leon and Re-Up mixes for me.
Popof: Great remix from re up ! love it
Kaiserdisco: Original mix is nice, will try it out.
Wally Lopez: Leon remix are huge!! Support
Shinedoe: I'll try it out.

Mad Corporation launches its first vinyl release with Mad Corporation Series Vol. 1, a Various Artists EP introducing the label's vision through four original cuts.
Built for the dancefloor, MCS001 explores different moments of a DJ set, from deeper and hypnotic grooves to more driving club energy, while staying true to the label's underground identity.
Featuring original productions by Lucien & Catriel, Posada & Das Man, Misla & Jose Vera and DJOAN, the release brings together artists under a shared vision of timeless electronic music..

2026 Repress

Due to high demand, MEU has revisited two of Mr. K’s classics, previously only available as 12-inch extended mixes, and asked the master editor to pare them down to 7-inch size.

A true top-five peak record at the Garage, Thelma Houston’s “I’m Here Again” was “a highlight whenever Larry played it,” Danny Krivit recalls, “and he played it a lot!” Danny’s edit is a homage to Larry and Frankie Knuckles – in particular a similar private edit that Frankie did back in the day and shared with Krivit. “It was on reel to reel and I didn’t copy it correctly and lost it,” Danny remembers. “Reels were problematic! When I tried to get it again from him, unfortunately he had lost it too.” The song (likely an attempt by Motown to capitalize on the previous year’s monster hit “Don’t Leave Me This Way”) is, in its original form, a virtual retake of Thelma Houston’s breakout single, from the subdued, schmaltzy intro to the “oooh BABY!” leading to the chorus. What sets “I’m Here Again” apart though, is the incredible second half of the song. Naturally, it is here that Mr. K’s edit focuses. Over a vicious groove reminiscent of the Originals’ “Down To Love Town” breakdown (Michael Sutton wrote and produced both “Love Town” and “I’m Here Again”) Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly. Pure dancefloor peak energy! And the very first time having all these parts on a 7"!

For our flip, Danny has reached deep into the earliest foundations of his voluminous collection, and come out with a psychedelic pop classic rearranged for today’s sound systems and setlists. Recorded in the Beatles’ Abbey Road studio at the height of the Summer Of Love, the Zombies’ “Time Of The Season” is firmly linked in pop culture to the late ‘60s and the Vietnam era, breaking big in the summer of 1969. Krivit’s edit highlights the parade of lush sonic textures that ornament the hip composition, from the iconic, exquisitely echoed bass-clap-exhale riff that opens the song to the cascading Hammond organ solos of Rod Argent. “It’s a song from my childhood that really struck a chord,” Danny says. “Over the years I often played a rough edit which always seemed to go over great. The song seemed to get better and better, and age like fine wine.” We agree!

These two songs have both appeared on previous (separate) MEU 12-inches, but are presented here in custom new edits for the 7-inch format.

Cari Lekebusch is one of the architects of the Swedish techno scene whose influence naturally spilt out over the wider European landscape as part of the second wave in the late 80s and early 90s. Under his Yakari alias, he explored a tear-jerking and trance-infused style that was about looking outward to distant worlds beyond our own. This EP is a classic example and was originally released in 1994 on Loop Records. 'Positive Transphere' is an absorbing opener with dirty bass offset by sprawling synths, 'The Sound Ordeal' gets darker and more involving emotionally, before 'Lotus Trance' explodes in bright colours and new age love. 'Water Of Tranquility' is a more deep, insular closer. An EP that has aged perfectly and will still turn heads 30 years on.

In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.

Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.

Scratchy ASMR sounds introduce us to the opening track ‘zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.

On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.

Collecting orders for 2026 Repress

A year or two back, original Nottingham deep house don Gavin Belton (famed for being part of Smokescreen and Drop Music-adjacent duo The Littlemen) returned to the UK after living in New Zealand. One thing led to another and soon he was back in the studio alongside former creative partner Steve Lee for the first time in 15 years. Featuring heady spoken word vocals from Hector Moralez, the result is 'House For Change', a lightly electrofunk-fired slab of classic East Midlands deep house. Raising funds for homeless charity Help The Framework, this surprise EP also includes 2004 classic 'Tell Me' (a free party deep house classic) and two fresh reworks: a TB-303-bass-driven revision of 'House For Change' by their old pals Inland Knights, and a squelchy, spacey take on 'Tell Me' by Lee under his solo alias, Positive Divide.

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.

Focus On Egoless returns with a powerful new Various Artists release, bringing together Dutch talents Sosef and Kai Stein with three artists from the Canary Islands: Daniel Rodríguez, Funke, and Moray.

A diverse collection of club focused cuts, this release moves across different shades of energy, from hypnotic, groove driven tracks made to set the tone at the beginning of the night, to powerful and intense weapons designed to take things deep into the dancefloor.

Balancing raw energy with more subtle, rolling warm up grooves, each track brings its own character while staying rooted in the distinctive sound and spirit of Focus On Egoless.