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In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

Grünes Vinyl. TAIHR ist eine bunte Truppe, nicht nur weil zwei der Mitglieder aus Chile stammen und eine lateinamerikanische Prise in die Musik mit einfließen lassen, sondern auch weil alle MusikerInnen verschiedene stilistische Backgrounds haben. Neben Indie-/ Progressive- und Alternative Rock sind auch Jazz, Funk und Math Rock wichtige Legierungselemente des musikalischen Amalgams aus welchem Taihr gegossen ist. Diese Elemente verleihen Taihr einen ganz eigenen Sound und eine phonetische Tiefe, in die jeder eintauchen kann, ungeachtet jeglicher Genre-Konformitäten.

Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.

On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.

The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.

Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.

NOREPRESS is a division of MixCult Records. Limited Edition.

With its second release, Fleur Sauvage stays true to its opening premise: no calculated moves, no outside logic, only work that could not reasonably exist anywhere else. Danieli has been part of the La Nature and NoName fabric for years, as co-curator, resident, and crew, one of those people whose presence shapes a space long before a set begins. This album is the natural continuation of that relationship, extended now into a more permanent form.
Where FS001 captured the charge of a live moment, FS002 turns inward. Seven studio compositions, built at a remove from the dance floor, without urgency or performance. The kind of record that needed time to be what it is.


Daniel
The B-side loosens further. Reverie does exactly what the word promises, without apology. Anew carries a quiet kind of relief, not triumphant but settled. Heavenly closes the record differently: a long, unhurried progression, organic sounds swelling and receding in waves, building toward something that never quite resolves, and doesn't need to.
Throughout, the sound is precise without being cold, textured without ornament. Ambient in the truest sense, music that holds a room, and asks nothing back.

Poitiers based Heavy Rock band RedRedRed deliver a debut album built on grit, groove and a decade of uncompromising attitude. Deaf Gods is a stoner and progressive metal release driven by thick riffs, dynamic structures and a raw live feel that avoids overproduction in favor of impact and authenticity.
Drawing from a deep heavy rock foundation, the band blends groove driven riffs with dark atmospheres and restless songwriting. The album moves between massive low end impact and more intricate, tension filled passages, always grounded in a direct, physical, and uncompromising sound.
A consistent and focused record with strong replay value, Deaf Gods stands out for its honest delivery, strong identity and wide appeal within the heavy underground, appealing to fans of stoner rock, heavy metal and modern prog infused riff driven music.

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

Bosconi Records returns with Tangled Waves Vol. 2, the second chapter of the series—this time expanding the concept into a four-artist VA, diving deep into progressive house and neo-trance territories while keeping that unmistakable timeless, old-school spirit alive.
Like shifting currents moving in parallel, Tangled Waves Vol. 2 brings together different voices, each following their own path while converging in the same flow—crafted for longevity, built for the dancefloor.

The EP opens with Fly High by DJ Glc, founder of Digging Deeper records and already known to the label through his contribution to the Home Cooked Beats compilation. Here he delivers an epic italo-infused progressive cut, driven by a classic rolling bassline and lifted by a futuristic arpeggio that bridges past and present. Hypnotic, warm, and undeniably effective—pure late-night material.
Next up is Strange Gift by rising artist Little Sea, founder of Sea Horse Records. A high-energy progressive groover with a clear nod to ‘90s classics, the track blends a punchy forward-moving bassline with bright melodic flashes and a sensual female vocal in the breakdown—making it a proper peaktime weapon with emotional depth.
On the flip side, Matteo Guarnieri (aka Rare Happiness) makes his Bosconi debut following a standout release on Kulture Galerie. His track Roller Disco Truck merges old and new with ease—leaning into a tech house framework with a distinct groove, textured stabs, and a subtle arpeggio that adds a psychedelic edge. A playful yet driving cut with strong character.
Closing the EP is Stargazing by Andrea Mera, also debuting on the label. A soft, mesmerizing progressive journey, the track unfolds with lush pads, a fluid atmosphere, and a gently evolving energy. With its warm 303 touches and emotional depth, it feels like a timeless closing moment—introspective, romantic, and built for those final hours on the floor.
With Tangled Waves Vol. 2, Bosconi introduces a new wave of artists while staying true to its roots—delivering four carefully crafted cuts that balance nostalgia and forward motion. Another essential addition for the bag, made to last.

Should you happen to have been paying attention to progressive house and trance in the mid 1990s, you may well be familiar with Brendan McCarthy's most celebrated release as Aquartherium, 1994's Full Moon EP. It was a massive record across Europe but also found favour in San Francisco's freewheeling free party scene. 'Full Moon' itself is especially potent - an all-action chunk of hallucinatory progressive house/trance fusion full of star-burst synth motifs, bubbly electronics and ambient techno sonics - though the heavier, bleep-sporting, Brown Album-era Orbital flex of 'Luci In Deep Hypnosis' is just as good.

Tywi steps forward on People & Places with Suspended Memories. Pulling together years of studio exploration, the four-track EP offers the most complete reflection of the Welsh producer’s sound to date.

Drawing on dub soundscapes and a spectrum of progressive influences, each track tells a different story. The title track, Suspended Memories, brings together murky atmospherics and an infectious bassline, drawing the listener deeper with an understated sense of tension. Off Axis leans into a more driving energy, offsetting the EP’s introspective core, while Night Seeker settles into a subtler groove, capturing those early dancefloor moments as tension begins to build. Closing track Onko adds weight and resolution, its name nodding to the Japanese concept of learning from the past – an idea that runs through the release as a whole.

The Goblin Walk is an invitation to trace the footsteps of the eponymous creature through five swampy, dubby, liquid techno interpretations from four different artists. Label head Caldera opens with the gently underlapping space chug of 'Today', followed by Traevor's 'Reef' which turns marimba into a dubbed-out bass meditation. Caldera then features again under his Loop LF alias with 'Tiz', which pairs spectral sonic sketches with whimsical melodies that drift and float as if in a gravity-free zone. Streetfaxx then unearths a long-lost 2013 Cologne track, its patient rhythmic progression untouched by the passing years, before ambient textures take centre stage in Nightwaif's 'Xmas1 (vocal dub)' as tape experiments float over deep sub-bass, caught somewhere between 1980s new age and modern ambient minimalism. A compelling, exploratory world of sound.

Tadan’s area127 returns with Sun & Moon, a two-sided exploration of modern psychedelia and exquisite sound design — balancing sprawling daylight hypnosis with nocturnal pull.

The LP’s “Sun” side reflects an uplifting current. Kaspiann’s “Lilja” deploys deep techno finesse, flowing through contours of luminous synth progressions and forest-dwelling resonance. A resurfaced 1996 cut, Deviant Electronics’ “Radio Silence” emerges from the Goa continuum — progressive chord sequences, sci-fi atmospherics, and euphoric momentum recalibrated for contemporary dancefloors.

The “Moon” side turns inward and nocturnal. Whrikk’s “Specter” drifts amid ghostly psychedelia, pairing dreamlike synth work with evolving arrangement pressure and submerged low-end movement. On “Seijaku”, Solarythm distills ritualistic hypnosis and rolling bassline into a fluid story — a forward-facing statement from the blooming wave of trance.

Beneath the still gaze of the praying mantis, Jamie, aka j:me, arrives on Neptune Discs via Jupiter’s Depth with four tracks shaped by subtle mutations, hallucinatory repetition and dubmerged weight throughout.

Built around commanding basslines, intricate percussion and spacious progressive movement, the EP quietly unfolds like something half-hidden beneath the surface.

Already seeing support from Raresh, tINI, Francesco Del Garda, Enzo Siragusa, Omar+ and more. Heady groove in full effect.

VA – Paradisi Artificiali brings together four distinct sound compositions, each resisting the urge to resemble the others but united by the way they manipulate perception.
Polygonia crafts shifting rhythmic paths where the groove warps and regenerates in real time, maintaining an organic tension that keeps the body in motion without ever truly settling into place.
Feral operates through subtraction, slowing time and excavating sound’s spatial depth. Its tracks don’t progress so much as they envelop, drawing the listener inward into a layered, introspective space.
Agonis introduces a more unstable, sensory thread, weaving transitions and accumulations that build in stages. Frequencies become tangible matter, and the progression unfolds without ever erupting entirely.
Crossing Avenue weaves these directions together without hardening them, infusing the record with a more rooted, almost ancestral rhythmic element that surfaces in the structure of the patterns and the choice of timbre.
The result isn’t a neat synthesis, but a coexistence. The tracks unfold along a shared line without ever converging, articulating a dynamic balance between tension and release. It’s an album that works through gradual alterations, through subtle slippages in perception, as in “Les Paradis Artificiels”. The point isn’t escape, but intensification. The sound burrows deep, reshaping how things are experienced, until a denser, more ambiguous, more alive reality emerges.

Interdance returns in 2026 with its fourth vinyl release, continuing a journey that began in 2023 and further strengthening a distinct sonic identity rooted in hypnotic club experimentation and meticulous sound design. This time, the spotlight falls on Dani Labb, a true architect of sound, delivering four original tracks, including one reimagined by Z@p. The EP is deeply focused on repetition as a language of its own, building groove through carefully layered textures and surgical precision. Music designed to be fully experienced on sound systems capable of embracing the entire frequency spectrum, where every detail reveals its purpose.

The journey begins with Phase Two, a restrained yet immersive acid cut that slowly draws the listener into Dani Labb’s universe. Its progressive structure unfolds gradually, revealing tranceinfused nuances and vocal passages that feel like moving through levels inside a parallel dimension. A2 brings Nordark, following the narrative established by the opening track. Heavy low-end pressure, resonant highs, and a sonic architecture where drums retreat into the background, sketching rhythmic contours while the synth work takes full command. The B-side opens with Enbad, where tension rises and the energy becomes more forceful. The drums gain weight and the sound leans further into techno territory, while acid remains the guiding thread throughout. Closing the record, Z@p reshapes Enbad with his unmistakable signature of mystery, tension, and hypnotic arpeggios that push the experience to the edge. A producer who needs no introduction.

A significant force in the development of British electronic music, Fluke return to the culture and reinvigorate their forward-thinking library of material on an unexpected and powerful new album, The Second Bite.

Due for release internationally via Surface Records in association with !K7 Music, The Second Bite arrives on limited-edition, double-vinyl gatefold LP.
Driven by principal band members Jon Fugler, Mike Tournier and Julian Nugent, The Second Bite boldly yet subtly reimagines twelve Fluke tracks from different eras of the band, including crossover hits Atom Bomb, Groovy Feeling and Absurd. Retaining their peerless groove and cinematic atmosphere, the band rework each with contemporary production touches and arrangements that invite these ambitiousrecordings into a digital future.
Making a significant contribution to both rave and chillout sound systems throughout the nineties and deep into the new millennium, Fluke’s progressive sonic philosophy saw the band invited to remix boundary-pushing artists including Bjork, New Order, Talk Talk and even The Rolling Stones, while their original productions were integral to the cult soundtracks of blockbusters The Matrix Reloaded and Sin City.

Their music remains instantly recognisable to renewed generations of gamers, having featured on the multi-million selling console series’ Need For Speed: Underground as well as seminal racing game Wipeout 2097, for which the band recorded original music to feature alongside The Chemical Brothers, Daft Punk, The Prodigy and Underworld.
Regaining control of their original compositions, Fluke approached The Second Bite with the same sense of creative community and futurist philosophy that has been fundamental to the band since their earliest recordings. Formed on the experimental fringes of London’s nascent acid house culture, informed by a shared love of progressive electronic sounds, Fluke have remained deeply invested in the possibilities of recording technology. Decades later, reunited in a profoundly altered musical landscape, The Second Bite serves as a typically ambitious reintroduction to one of electronic music’s most essential back catalogues.

With “The Insanity Of Infinity” Hernán Cattáneo and Marc Romboy join forces for a deeply atmospheric and emotionally charged release on Systematic Recordings. The track brings together two artists with long-standing
international reputations and clearly defined musical identities: Cattáneo’s unmistakable sense for hypnotic, progressive storytelling and Romboy’s warm, driving and Detroit-influenced Systematic sound.
The original version unfolds with depth, tension and elegance, balancing melodic emotion with club-focused precision. Rather than relying on obvious peak-time formulas, “The Insanity Of Infinity” builds its own universe:
immersive, sophisticated and timeless, shaped by two artists who understand how to create music that works both on the dance floor and beyond it.
The release is completed by two strong remix interpretations. Frank Sonic & Drumcomplex add a powerful, forward-moving techno version with clear Systematic DNA, designed for darker club moments and peak-time
impact. Brian Cid brings his own hypnotic and progressive touch, expanding the emotional dimension of the original with a deep, atmospheric and cinematic interpretation.
Released as a strictly limited red colored 12” vinyl edition, “The Insanity Of Infinity” is a special collector’s piece and a strong DJ tool at the same time.

DMA & Friends returns with a four-track EP from Groningen-based producer Mathijs Smit, one of the most interesting names emerging from the new wave of the Dutch underground scene.

Known for his hybrid approach between modern techno, progressive influences and intelligent club-oriented dance music, Smit has been steadily building a strong reputation through releases on labels such Superlux, alongside appearances across the Dutch underground circuit.

Built around hypnotic grooves, soaring melodies and emotionally charged atmospheres, the EP creates a constant sense of tension and release while moving between modern techno pressure and progressive inspired dancefloor moments.

Long time friend of the label Tom Drew delivers his most refined productions to date for the second 12” release on Dream Space.

For his own debut on vinyl, he draws on modern styles of deep, progressive house, paired with intricate sound design elements of deep techno and trance.

The record samples voices and situations that explore ideas surrounding creation, meditation and reincarnation - provoking a dreamlike reflection on the liminal spaces of sleep & awake, mental & physical, life & death.

A versatile EP flowing full with warm psychedelic sounds, these tracks each hold a place for the various stages of the night.

Edition of 200.

Jimpster delivered some great releases in 2023, most notably his Natural Child collab EP with Crackazat as well as his Tribute EP featuring South African vocalist Mavhungu and including heavy Osunlade remixes. He also produced some of his best remixes to date including Thakzin’s Don’t Let Me See, Blaze’s Wonderland and Detroit Rising’s Rocket Love.

It’s always a good day to announce a new Jimpster EP on Freerange and with two captivating originals plus a stunning Atjazz remix you’re in for a treat! You’re My Ecstasy sets the tone with Jimpster’s trademark deep Rhodes pads, punchy bassline and shuffling classic house drum groove. He once again manages to strike a great balance between soulful, musical, warm and just a touch moody.

Next up we have The Passion which builds a deep and jazzy mood around a 4 bar piano progression whilst the sampled interviewee gives his insight into how he maintains his passion for music. London based trumpet player KingCrowney adds some lovely horn parts, emphasising the jazz feel to compliment the spoken word.

Atjazz gets well and truly stuck in on his remix of The Passion. Reportedly completed in just two studio sessions the hardest working man in deep house (as Jimpster calls him) brings his well-loved deft touch introducing an beautifully syncopated bassline and classic Atjazz drums making for a clubby interpretation for the deep, discerning dance floors.