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012 proudly presents 01211, a release marking the first-ever collaboration between Claudio PRC and CONCEPTUAL. A long-anticipated meeting of two like-minded artists, Syklit unfolds as a shared exploration of depth, restraint, and sonic research, supported by a masterful revisit by Marcal.

Built around the concept of cycles as continuous motion and transformation, Syklit develops through three original cuts that function as interconnected chapters of a single narrative. Hypnotic structures, stripped-back grooves, and carefully sculpted sound design define the EP. It blends techno sensibilities with an introspective, atmospheric approach. On top of that, Marcal delivers a striking reimagining of Sykli I, merging raw tribal energy with cutting-edge, sci-fi-driven sound design to unleash a relentless groove made for peak-time, late-night sessions.

The result is a cohesive and powerful release, equally suited for immersive listening and deep, forward-thinking dancefloors, celebrating a meaningful first-time collaboration and uncompromising shared sonic visions.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

Ondrǣdan is the second aesthetic proposal by Sediments’ owners Pajaro Dune. This work is the result of a deep artistic experimentation and a thorough compositional refinement. Some of these materials have been distlilling in the studio for almost a decade of sound engineering and constant debate to make the experience much more profound.

From old English language, ondrǣdan it is a direct reference to our most primordial fears. Both an emotional yearning and a postapocalyptic kubriesque tale, the five works of this record capture five shades of rhythm and mood, where ambient, dub and downtempo meet in immersive narrative experiences. All them crowned with the luxurious sculptural artwork by Blanco Anyò who forces us look beyond the visceral to intuit the transcendent.

Pajaro Dune is the product that combines the creative minds of Jaime Romero aka Estrato Aurora and David Ortolà aka Syoqh aka d_o_ppelgaenger. More than half a life producing together from València, their multifaceted approach crystallizes in renowned works for Alpenglühen, Grabaciones Perpendiculares, The Monkey Bar, Eleve Music and now their own label.

|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

"Northern Electronics presents ’The Vanity Project’, the new LP by Vanity Productions.
Like a fractured reflection, images appear distorted and incomplete. A series of fragments revealing influences, methods, and decisions where life and work remain inseparable. Moving through the residual noise of contemporary media space, Christian Stadsgaard draws from social media remnants, dark web transmissions, and untreated human sound.
These elements are processed through noise electronics and tape manipulation, collapsing source and signal. ’The Vanity Project’ is constructed as a dense, uneven surface. A collage of found sound, environmental interference, and emotional residue. The result carries Vanity Productions’ characteristic melancholy, Nordic restraint, and accumulated debt, forming a quiet but insistent tale of romance and reflection from the source.”
Album credits:
All music recorded by Christian Stadsgaard in Copenhagen, Denmark 2025
Mixed by Christian Stadsgaard and Malthe Fischer
Mastered by Giuseppe Tillieci at EnissLab, Rome
Photos by Christian Stadsgaard
Collage by Anthony Linell
Sound contributions by Shredded Nerve, Jackson-Pratt, Ashley C, Hannes Norrvide, Malthe Fischer, Daniel Svanberg Bøtcher, Vagn Olsson, Yuri Umemoto, Lise Westzynthius, Qiuyao Ning, Peter Peter, Government Alpha and Merzbow – A big thank you to everyone involved.
“The Vanity Project” was kindly supported by KODA kultur, Copenhagen.

For the best part of the last decade, Dumfries-born, Glasgow-raised Liam Shortall AKA corto.alto has been in his home studio in the Southside of the Scottish city, cooking up frenetic improvisations, diligently wonky productions and genre-spanning compositions with a close-knit group of local collaborators. Now signed to Ninja Tune, the multi-instrumentalist producer, composer and performer announces “SOME SMALL FORTUNE”, which finds Shortall at his most expansive and unpredictably exciting, working with his widest range of features to date, collaborating with the likes of Mick Jenkins, Vector, anaiis, Oscar Jerome, Jacob Alon (Brit Award winner), BINA., Terra Kin and Eriff alongside his longtime Glaswegian band, drummer Graham Costello, Mercury Prize nominated Fergus McCreadie and saxophonist Mateusz Sobieski to produce an electronic, classical, pop and indie-influenced record that extends far beyond the confines of its meticulous making

Esteemed DJ & Producer Joris Voorn sets aside his dance floor sensibilities for his latest body of work as he looks deeper into his production capabilities with ‘Melatonin’.

The 17-track record serves as a direct, downtempo companion piece to his 2025 dancefloor-focused album, ‘Serotonin’. By stepping away from high-energy techno, Voorn uses this body of work to explore cinematic sound design, rich textures, and weightless, slower-paced arrangements.

Drawing from his years of studio experience, the new album focuses on the Dutch producers influence from ambient and down-tempo soundscapes. Working with long term collaborators and musicians Bram Stadhouders (braem) and Michiel Borstlap, ‘Melatonin’ delivers a thought-provoking listening experience making this an essential purchase to complete the set.

The 1993 split point between pop punk and emo is no better illustrated than by
Garden Variety’s self-titled debut. While Billy and Bivouac flirted with the mainstream, this Long Island trio proposed at the post-hardcore prom. Muscular octave guitar chug with a side of late night zine work at the local diner. Backbeat heartbreak, hold the FX. Thank Charles Maggio for your favorite record next time you see him at the Paramus mall.

The 1993 split point between pop punk and emo is no better illustrated than by
Garden Variety’s self-titled debut. While Billy and Bivouac flirted with the mainstream, this Long Island trio proposed at the post-hardcore prom. Muscular octave guitar chug with a side of late night zine work at the local diner. Backbeat heartbreak, hold the FX. Thank Charles Maggio for your favorite record next time you see him at the Paramus mall.

For close to a decade, B’licious has been best known as the voice ofThe Heliocentrics, the London psych jazz and funk collective whose collaborators include Madlib, Mulatu Astatke, DJ Shadow, Gaslamp Killer and Lloyd Miller, with stages taking her to Glastonbury, Roskilde and Worldwide festivals alongside artists including Marshall Allen and Bilal. Her appearance on Strut Records’‘Nuclear War’, a tribute to Sun Ra also featuring Marshall Allen, Knoel Scott and Bilal, is the latest marker of a body of work built over years on some of the most respected stages in UK jazz and soul. Following her 2022 solo EPSurrender, ‘Apple’ is the lead single from her debut full-length album,Serpent Dreams.

‘Apple’ was co-produced byDan Smith of The Noisettesand engineered bySie Medway-Smith, whose credits include Björk, Depeche Mode, Gang of Four and Massive Attack. On the flip side,SLICKnBOBBY— known for chest-rattling basslines and immersive, dubbed-out rhythms — deliver a live reworking that shows off their skills perfectly, drawing on a background that includes performing alongside Wally Badarou and frequent collaborations with Liam Bailey and Greentea Peng.

Layered guitars, synths and wordless vocals set the scenery in this epic, beautiful and introspective solo debut by musical wanderer Lynn Wright.

Wright, who has mostly eschewed developing a fixed artistic identity throughout his already long career, has preferred to remain on the periphery of collaborative projects and behind the scenes. It took until recent times for him to make “Before The Sinking Plains”, which arrives as his first solo recording after decades of traversing underground scenes in New York and beyond. Wright defines the album as “a collection of atmospheric compositions structured as songs or songs masking as atmospheric compositions.”

The album began during a long neurological illness as guitar loops Wright would make each morning in his apartment and let play quietly in the background. At some point he began recording the ones he liked and adding layers of treated guitars, vocals, and synths, and then, eventually, giving them defined structures. The album features none of the aggression of his louder bands and improvisatory projects, but retains the dark hues.

Before The Sinking Plains lives on the familiar peripheries of our post-everything sound world, with elements of everything from washed-out dream pop and atmospheric drone works to sparse noir folk and minimalist vocal composition moving within the linings of Wright's subtle yet grand pieces, creating a perfect backdrop for watching the sky merge with the vast open fields.

Since relocating to Berlin some years ago from New York, he has worked closely with composer Simon Goff, who mixed his current album, as an editor, engineer and composer on various film and recording projects. He also plays lap steel guitar in Swans bassist Dana Schechter’s band Insect Ark. This is just the top of the iceberg when it comes to Wright's collaborations and projects throughout the years.

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Multi-award-winning singer and songwriter Jorja Smith announces her new album, What Are The Odds featuring sole production from P2J and collaborations with Afrobeat star Wizkid and Grime icon Devlin.

With her third album What Are The Odds, Jorja continues to build on her legacy with a euphoric offering rooted firmly in dance music. Confidently channelling UKG, Grime, 2Step, Funky House, Soulful House and Afro House, this thrilling, pulsating record rarely dips below 140 BPM.

This is music to make you move says Jorja. I want people to hear it on the dancefloor, where the sun is shining, in the car and in their headphones on the night bus home. This is a record for driving and vibing.

GALA's fourth single, produced by Molella & Phil Jay,
became another international hit and gave its name to her
debut album.

GALA's fifth single, produced by Molella & Phil Jay, and
another standout track taken from her acclaimed debut
album.

"The electroclash genre sure has been having a bit of a renaissance moment. During its first coming an odd 25 years ago the French act Sweetlight was a favorite over here. Originally active between 2002 and 2010, they quickly positioned themselves within a refined strand of the global underground scene: inspired by 90s acid house club culture, they rose to prominence by releasing a sparse selection of original tracks and a multitude of remixes that were both dancefloor-effective and immediately recognizable. After the EPs stopped coming, the project seemed to have faded. But their tracks never left our bag: they combined minimalism with ambiguous elegance and retained a distinct, timeless quality, easily transcending the turn-of-the-century style they were most closely associated with. We are delighted, in what we consider nothing less than a full-circle moment, to release "Selected Recordings: 2004 - 2006" and shed light on an underrated yet, in our eyes, absolutely essential project. ALT022 is an anthology release featuring four extensive, remastered cuts. Abusator, arguably the act's hallmark track and a crossover hit, kicks off the EP. It is joined by Mecaniques Remontees, which opened the milestone Suck My Deck mix by Ivan Smagghe, and Too Shy, both initially part of the same EP back in 2004. Noir Comme Le Beat, an unreleased curiosity from the same era, closes the record. You will find dark, endless, ever-modulating arpeggiator basses, Detroit-via-Paris chord progressions, and spartan drums. The work is, in the artists' own words, low-profile, detail-oriented, and built for late hours. It's an ideal compilation or - depending on the case - introduction, especially now that new work is rumored to be finally on its way."

4 tracks by one of the most solid German techno project at the moment !

You have to imagine that American ambient obsessive zake never actually steps away from his machines, let alone turns them off. He is one of the most prolific artists in any genre, and his Past Inside The Present label is where it all gets served up. Next up is a lovingly assembled picture disc with fitting artwork that represents the sounds inside: sorrowful but charming drones, long-held chords that pass at glacial speed like clouds on a windless day. There is just one piece per side, and both are signature meditations and mindfulness exercises that leave you feeling completely at peace with the world, no matter what was going on before you hit play.

Bristol's Ben Pest returns to Co-Accused Records with four drops of full-pelt electro and techno on Lacquer of Empathy EP. A respected live artist and producer known for his production nouse, he’s taken his sound to Co-Accused’s Glasgow parties, Tresor and Glastonbury and released across respected imprints that include Mechatronica, Cultivated Electronics, I Love Acid and more. This release is exactly what he’s become known for turning out: rave-touched and highly effective dancefloor material.

The EP opens with 'D-Transfer', a pacey piece of machine funk which leads into ‘Mam Assid’ which right off the bat is an intensive, driving acid techno number. Over on the B Side, ‘Shruthi EB’ is a twisted machine workout, building and rebuilding through distorted synths before locking into a relentless groove. After being self-released on digital format on his own label The Glutch now gets a vinyl pressing on this EP riffing off a mechanical melody over an air-tight beat. To close out the EP is a digital bonus track with a ‘Rolling Edit’ of Shruthi EB.

“Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata

A note from Lawrence English: Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail.

Acid Nostalgia describes an increasingly common political projection of nostalgia that exists without any subjective connection to the memory surrounding and contained within it. Like acid poured onto a surface, this use of nostalgia seeks to erodes and smooth out the complexity and texture of lived connection and longing, which has until recently guided contemplations of nostalgia. Acid Nostalgia instead erases the texture of histories and de-contours the past, and in doing so dematerialises the horizon of possibility, which by its very nature marks the beginning point for any (and all) imaginable futures. Acid Nostalgia is a dreamless screen, where uncertainty, restlessness and aspiration are subjected to corrosion, breaking down and neutralising the wellspring of futures which are birthed from within the ambiguously charged, complex and at times chaotic atmospheres of the present.

The Rest Is My Ghost is not however some universal reading of these things and happenings. Rather it draws its breath from a very personal pathway carved through my own fraught experiences of nostalgia and framed through a disparate collage of chance encounters, situations, places and provocations. It takes oblique notes from civic and architectural references such as Japan’s Metabolist movement, Hong Kong’s ‘one line sky’ and Los Angeles’s vanished Sodium Vapour lights. It interpolates texts – factual and fictional – by authors such as Franco Berardi, Kate Crawford, JG Ballard, Katsuhiro Otomo, Mark Fisher and Alexei Yurchak who have each so wonderfully sought to rupture the familiarity of now, and push us towards other ways of imaging ourselves, our surroundings and our very ways of being in this world.

I also owe a debt of thanks to Adam Curtis in helping launch what has become this edition. It was his provocation, in a conversation we shared about an overwhelming and profound sense of uncertainty around being able to predict the immediate future and how to respond to that, which sparked the earliest inklings of this edition.

The Rest Is My Ghost is ultimately a record about the promise of constructions and connections to come, material, social and political. It's a record that accepts the fragility of failure as a source of ultimate potential, and a position from which the deepest freedom of imagination might be sought and summoned forth to conjure even the most unimaginable, (but) possible futures.

Dawuna’s latest mixtape is a muted hypnagogic R&B tour de force, pieced together while recovering from a traumatic head injury.

For »African Family Laptop Musick«, I was healing from a traumatic head injury that gave me a later amnesia diagnosis, so I don’t remember more than a couple small flashes of memory from the recording/construction of this project. I know I wanted to make a low-fidelity concept piece about my family life at the time, compositionally simple, but necessarily abstracted. This is the last lil offering from a very personal side of myself before I give y’all something big. Enjoy. – Dawuna

»Ampersand Curve« initiates a brilliant new phase of work by North Manchester’s most elusive artist, best known as Michael J. Blood. His string of ruffkut club bangers, as well as jams with Rat Heart & Samizdat over the past seven years, have made his records a true cult property, and now find him signed to one of the UK’s most foundational techno imprints – more of which later this year.

But under the Sees aegis, he swims in very different waters, following his instincts to use the studio-as-instrument to produce his most impressive, deep-minded work, made from – and for – the heart. Where MJB was all about off-the-cuff club jams cooked for immediacy, his new stylistic switch reveals myriad worlds of influence swirling under the hood, where interrelated spheres of spiritual jazz, dub, ambient, and concrète more clearly light up his rich inner world.

As the story goes, MJB was burgled a few years back and lost most of his studio just as the project was hitting its stride. It prompted a personal review of his practice, re-learning new kit, allowing him to bend the rules. Adopting a sort of first-thought, best-thought approach to composition, the new methodology fuelled a renewed imagination in flux, or what he identifies as Sees: a personalised way of conveying complex emotions. That undoing of musical and mental conditioning opens the walls of his music to vast new horizons. Opener »Ithaca« fathoms sonorous midnight jazz with 10 mins of a plangent, searching sax solo in HD widescreen, like some alternate version to the Blade Runner Love Theme, while a resonant vocoder soliloquy, »Unseem«, reaches into space harmonised between Alvin Lucier and Ron Trent, and »Sheer« chases the devil out of labyrinthine dub dimensions.

The floating dream architecture of »Caprices« caps the LP’s underlying narrative and painterly qualities with a romantic conclusion of blushing pads and shivered, metallic echoes of the subtropical that suggest a coming-to-terms with worries, refreshed and good to go again.

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

Golden Ape Records unleashes another foray from the outer reaches of bass, Luke’s Anger’s - One Machine to Rule Them All EP with a Radioactive Man remix! Available in super limited edition of 100.

His mastery of this one Analogue machine has brought forth a new EP of singular intent, to give the horns, tweeters and woofers of club sound systems a proper workout! Electro rules again - bass to crush bones, drums to jerk your body and synths to rewire your brain. The overall effect is an intense, exhilarating and liberating experience that breathes fresh life into a storied music genre.

He is ably assisted by Keith Tenniswood aka Radioactive Man on remix duties of the track No Undo. He brings to fore his sweet and nasty sides to create a growling bass ridden beast that begins with a blissful promise and then puts the boot into your pleasure zones.

Handle with caution!

This vinyl compilation brings together some of the key pillars of Mexican Tribal and celebrates the artists who helped shape one of the most distinctive languages in electronic music made in Mexico.

Produced by Sabotaje Media, Trucha Soul Records, and La Chekera Records, the record works as a physical archive of Tribal's history, connecting generations, territories, and visions that have kept the genre alive and in motion.

Verily, a ceremonial grade vinyl exclusive for prophets.

Lo, the second coming of Pete Lazonby's Gentile Heathen Infidel label.

Hark, Padre's follow-up to his 2022 two-sided mini-album Baby Steps & Grand Gestures on Manjumasi.

Keep looking up in wonder.

Some records arrive with a clear purpose.

Others take years to reveal why they belong together.

PLNK008 is the first solo release by Natural Goofy on Planka Records. Following a series of appearances across various labels and collaborations, this record offers a deeper look into the sound he has been quietly shaping over the years.

A collection of recordings gathered over time, connected less by genre than by a shared sense of mood and movement.

Rather than chasing functionality, the record follows instinct. Loops are allowed to breathe. Details appear slowly. Tension builds almost unnoticed. Elements drift in and out of focus. The intention was never to arrive somewhere quickly, but to stay inside a feeling for as long as it remains interesting.

The release also includes a special reinterpretation of one of the EP's tracks by dear friend and talented Italian producer Shkedul.

The original version of the track will be available exclusively as a digital bonus on Planka's Bandcamp.

These tracks were not designed to demand attention. They reward it.

For those willing to spend time with them.

Limited edition. Vinyl only.

No Drama, the imprint founded and curated by Roy Rosenfeld, continues to expand its artistic vision with a sixth release valuing originality over convention. The label has steadily established a platform for forward-thinking electronic music, inviting artists to challenge familiar structures while remaining grounded in musical substance.

The latest release features two tracks by internationally recognized producer Yuvée, known for seamlessly blending live instrumentation with deep house, melodic elements, and organic percussion. While Yuvée appears solo on one track, the other is a collaboration with Omer Inbar, who performs under the name Oi.

The opening track, Lava Core, presents the sound that has earned Yuvée international recognition. Tribal influences unfold through carefully crafted percussion, while evolving textures occupy every part of the stereo field. Every section advances the narrative, allowing the arrangement to grow naturally while maintaining dancefloor impact from beginning to end.

The second piece, Blue, brings Yuvée together with Oi, an internationally acclaimed DJ, producer, and sound engineer whose work bridges psychedelic vibes and groove-driven electronic music. The collaboration introduces greater club energy. Tonal and atonal elements interact with shifting harmonies and evolving instrumental phrasing, creating constant movement without losing coherence.

Rather than relying on formulas, the duo demonstrates the value of artistic perspective in an era increasingly shaped by technological automation. The result is music that balances intellect with feeling, offering a listening experience that remains equally compelling on a festival sound system, in a club, or through focused listening at home.

With its sixth release, No Drama reinforces its commitment to artists who expand the language of contemporary electronic music through craftsmanship, authenticity, and creative ambition.

Glasgow’s Hot Towel are a DJ & production duo, community dance party organiser and now record label reimagining the balearic spirit far from its original context and sunnier climes.

This debut EP contains 4 dance floor focused tracks tested and developed on the Hot Towel dance floor and beyond. Produced over the last 4 years in grey and rainy Glasgow these 4 tracks reinterpret the joy of warmth, connection and world building in dance music.

Warm in Your Office is a feet on the floor, head in the clouds, bouncing 90’s piano house inspired track with warm driving bass, punchy gated snare, percussion samples and a surprising nostalgic drop for fans of late 90’s and early 00’s Serie A.

The lo-fi beatbox rhythm of Low Pressure in Paradise features a melodic, rumbling bassline, vintage synth string stabs and a warm melancholic synth pad swell reminiscent of the day after the night before, or the thunderous ambience of an oncoming storm and the reflection that brings. Think warm orange and magenta sunset overcast with heavy mauve clouds and possibly a hangover from one too many negronis.

A sunbaked synth flute melody shimmers like heat haze in the latin / balearic inspired beach bar romp Last Minute Staycation. Cowbell and syncopated piano move the hips, while romantic synth strings pine for that magical other world away from the mundane. A shift in tone midway evokes the peril of a balearic dream turned nightmare, capped off with timbale and a shredding electric guitar solo serving Lambada meets Zappa.

Endless Cosmic Procession is a downtempo balearic builder that chugs along with minimal effort. Tuned percussion drives the groove, with bass and synth punctuations that reverberate into space and swirl with delay. A rising arpeggiator gently brings melody to complete the harmonic space of the track that rounds off the EP with a contemplative dance floor moment.

AOP 11 Welcomes the Italian GNMR to the family for another psychedelic offering with the 'I Love You EP'

A1 opening with the title track I Love You with a no nonsense tribalism, taking us stumbling through a muddy Peruvian forest trip - after loosing & finding our minds

A2 follows with the deep and introspectif Sunrise Reprise. Slower broken drums guide, accompanied by moody groans and a nagging synth that weaves through the vines and trees.

B1 Bunda returns to the tribalism for a gated giddy dance ritual - clatterings drums, stuttered chants and rhythmic movements.

B2 rounds off the EP with Constantinople From The Mindset. Cleverly programmed loose percussion and trippy chants, a chundering bass and a solid kick, the track progresses craftily and confidently, gradually arriving at a euphoric and climatic.

If It Aint Jazz, is about quality over quantity, inviting world class musicians and producers to bring a modern edge to jazz and soul roots...

Back for Volume 5 of their vinyl only series, this time they invite young Australian artists Close Counters. The duo effortless blends jazz, disco and soul with house and broken vibes for yet another killer 12".

On the A side, 'Sunshine' flips a classic gospel cut into a euphoric anthem with a raw shuffling groove that will work for the house heads and broken beat and garage fans.
'Soul to Soul' features a catchy bassline, vocal chops and added synth parts that build into a peak time disco weapon.

On the flip side, 'House of Lucien' and 'Bruk of Lucien' gives us two electric grooves that have already been setting dancefloors on fire !