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Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

2026 Repress
The legacy continues with Paling Trax 5! A split-EP featuring label-head TAFKAMP and the young talented Amsterdam-based DJ/Producer Vromo, both delivering two groovy no-nonsense club bangers. All killer no filler, highly essential!

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

Bleech 9:3 share their debut single 'Ceiling / Jacky'. The Irish four-piece, fresh off an extensive run of dates with Keo, will support Shame on their upcoming Ireland dates.

Headed up by Barry Quinlan (vocals/guitar) and Sam Duffy (guitar) - the pair met at AA, where Sam became Barry's sponsor. The moved from Dublin to London together in 2024. "I think the vulnerability of those meetings helped us be a lot more comfortable with each other from the get go" they say about these first recordings.

Ceiling toys with 90’s infused heavy alt-grunge, music catalysed by a longing which transcends the material realm, a fixation upon negative space, and the desire for erasure. On the new single, Bleech 9:3 say-

"The story behind “Ceiling” is a sad one. I realised while writing the lyrics that it was about my friend Ryan who I met at a recovery meeting in Dublin. He passed away before he really got the chance to get better. It’s not something I’ve ever purposefully sat down to write about, it’s all those types of things which try to make contact with me through the writing. It’s like it’s trying to manifest itself to be released or something. Some things you hold on to for a long time before they finally find their way out."

Ceiling is out now on Ra-Ra Rok Records (Wu-Lu, The Goa Express, Bingo Fury).

In his 1954 book The Doors of Perception, Aldous Huxley theorized that every person lives and experiences life on their own island universe. We can try to explain our experience to others using language, symbols, and art, but we'll never be sure that we're feeling something precisely the same as anyone else. This line of thinking has become a source of inspiration for many prolific artists. Now, Cincinnati-based producer Jason Grimez is inviting us to hear what it sounds like on an island of his own creation. The Island of Dr. Bionic is the third installment in Dr. Bionic's Terrestrial Radio series. Due out 5/2/2025 on Chiefdom Records, it's a collection of instrumental fusion for fans of hip-hop, jazz, funk, and beyond. Grimez is the producer, mixer, and mastermind behind Dr. Bionic. He's a Cincinnati-based creator with a deep understanding of 90s hip-hop and DJ culture, and he draws inspiration from music of all kinds. Grimez' ever-growing catalog is best described as organic groove. He calls on a rotating cast of veteran musicians to join him at his home studio to write, record, and try out new ideas. Long-time listeners will find some familiar names in the liner notes, for good reason. 'Life Span' (track 14) features a head-bobbing beat from Marvin Hawkins. Nick Brown is responsible for the dreamy Rhodes performance on 'Shell Of The Soul' (track 11). If Charlie Suit's unforgettable sax performance on 'The Path Of Stars' (track 16) is stuck in your head for more than 3 days, please consult Dr. Bionic. Once the recording sessions are complete, the real production work begins. "We get together and record a ton of stuff, and then I'll go back and cut it and mix it together," Grimez explained. "It all finds a home over time."

In den letzten fünf Jahren hat sich Joe Westerlund intensiv mit der Clave beschäftigt, dem metrischen Muster, das zunächst die afro-kubanische und lateinamerikanische Musik geprägt hat und dann in fast alle Bereiche des Jazz und Rock Einzug gehalten hat. Was bedeutete es, dass eine Idee so flexibel war, dass sie so viele Formen annehmen konnte und dabei doch ihre eigene Essenz behielt? Das Ergebnis ist für Westerlund ein Sprung ins Unbekannte: Curiosities from the Shift, ein 12-Track-Spielplatz mit endlos verwobenen Beats und Melodien, auf dem Westerlunds Begeisterung für die Clave auf seinen experimentellen Umgang mit Texturen trifft und seine rhythmische Symphonie mit Freunden Hand in Hand geht, die diesen Raum gemeinsam mit ihm gestalten. Die dreiteilige Suite, die die erste Hälfte von Curiosities ausmacht, beginnt mit den Schrottplatz-Percussions und den entzückenden Bass-Splashes, die ,Tem" umrahmen, und endet mit dem surrealistischen Boom-Bap von Daumenklavieren und Shakers auf ,Can Tangle". Diese Stücke strahlen eine hart erkämpfte Freude aus, als würde Westerlund sich in Echtzeit daran erfreuen, eine potenzielle Sackgasse zu entdecken, aber trotzdem seinen eigenen Weg nach vorne zu finden. Diese Songs wurden zu einer Art Arbeitsplan für das Terrain, das Westerlund auf Curiosities erkundet, vom glorreichen Call-and-Response-Opener ,Nu Male Uno" bis zum unheimlich amorphen Schlussstück ,Felt Like Floating". Alle diese Songs zeichnen sich durch einen erkennbaren Rhythmus aus, wie den galoppierenden Gang in der Mitte von ,Midpoint" und den kopfnickenden Puls, der sich durch ,Persurverance" schlängelt, dessen Name augenzwinkernd falsch geschrieben ist, um seiner Aussprache aus North Carolina via Wisconsin zu entsprechen. Aber das sind nur Sprungbretter für andere Texturen, Stimmungen und Ideen, wie die New-Age-Anklänge - schimmernde Metallophone, zwitschernde Vögel, zurückhaltende Flöten -, die ,Midpoint" durchziehen, oder die Dub-artigen Delays und Gamelan-Hymnen, die ,Persurverance" durchziehen. Dies ist zutiefst vielschichtige Musik, deren treibender Kern durch eine Reihe überraschender Entscheidungen ausgeglichen wird. Bittersüße und Freude, Trauer und Befreiung, Seufzer und Lächeln: All das ist hier vorhanden und verflechten sich bis ins Unendliche. In den Monaten nach den ersten Sessions wandte sich Westerlund an Freunde - darunter Tim Rutilli von Califone, den Saxophonisten Sam Gendel, den Trompeter Trever Hagen und die Violinisten Libby Rodenbough und Chris Jusell. Es waren seine am gründlichsten komponierten und präzisesten Werke, aber er wollte hören, was passierte, wenn seine Freunde in Echtzeit darauf reagierten. Sie lieferten Anmut, Tiefe und Gefühl, wobei ihre Parts den Vorhang zu verborgenen Winkeln rhythmischer Welten öffneten. Westerlund gibt bereitwillig zu, dass er von der Betonung des Grooves und des Metrums des Albums überrascht ist, die sich von abstrakten Klängen abhebt. Nachdem er so lange mit Bands gelebt und gearbeitet hatte, ging er davon aus, dass er mit grundlegenden Metren fertig war. Diese 12 Songs verschmelzen so viele von Westerlunds Leidenschaften zu endlos faszinierenden Stücken, die mit vertrauten Elementen seine Abenteuer ins Unbekannte übertragen. Verspielt, aber zart, wehmütig, aber wundersam, von Beats angetrieben, aber nicht an sie gebunden - dies ist Westerlunds bisheriges Vermächtnis, das Soloalbum, das einen Blick auf eine musikalische und emotionale Landschaft eröffnet, die vielleicht sogar noch reichhaltiger ist, als er es sich jemals hätte vorstellen können.

Interstellar Echoes is a deep, hypnotic blend of Dub Techno and Dub House swing, built for late-night systems and long transitions. WM002 on Watermellow Music brings Benjamin Shock into full orbit mode: Warm chords drift through cavernous delays, low-end pulses stay locked and steady, and each track unfolds like a slow-moving spacecraft patient, spacious, and heavy with atmosphere. From the rolling drive of “Analog Odyssey” and the expansive glide of “Space & Time” to the tougher push of “Thunder Jam” and the weightless swirl of “Orbital Resonance,” this 12” is pure cosmic dubbing subtle, immersive, and endlessly repeatable.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

This 2026 reissue of Isolée’s 'Beau Mot Plage' revisits one of the most quietly influential tracks of early-2000s minimal techno and deep house.

Presenting a trio of reworks that stretch its sun-bleached elegance in different directions. Built around Isolée’s signature warm chords, skittering rhythms, and hypnotic restraint, 'Beau Mot Plage' remains a masterclass in subtle groove and emotional economy.

The A-side opens with the Heaven & Earth Re-Edit, Luke Solomon and Rob Mello's extended take that amplifies the track’s balearic glow while preserving its intimate pulse. This is followed by the Freeform Five vs Idjut Boys Beats version, which nudges the original toward a looser, club-ready feel, adding bounce and attitude without sacrificing its understated charm. On the B-side, Freeform Reform Parts I & II delivers a deeper, more exploratory reconstruction.

Doubting all the time. Fearing all the time. Our Darkness descends upon Dark Entries with a reissue of Anne Clark’s epochal proto-house masterpiece from 1984. As a young poet, Clark found herself drawn to London’s emerging punk scene. She became acquainted with Psychic TV affiliate David Harrow, with whom she would collaborate on 1983’s Changing Places and 1984’s Joined Up Writing. “Our Darkness,” off the latter album, was released as a single on Ink Records that same year, and became an underground club hit. It’s a singular piece of music: Clark’s lyrics, delivered with equal parts muscular confidence and unease, speak of urban alienation and heartbreak, while Harrow’s production pummels the listener with hydraulic beats and gloom-laced arpeggios. The song’s spirit would prove influential on both the early Chicago house and Detroit techno scenes, where mechanistic funk and existential despair could catalyse dancefloor mayhem. This reissue offers three versions of “Our Darkness”: the original 12” remix, the Razormaid mix, and a previously unreleased dub version uncovered by David Harrow. Also included is the extended mix of “Sleeper in Metropolis,” another dancefloor hit of Clark’s, as well as the elegiac “Poem for a Nuclear Romance.” The record includes an insert with liner notes and lyrics. “Our Darkness” channels timeless longing and contemporary dismay, a classic overdue for a little light shed upon it.

Outsider Records UK presents their first Vinyl & Digital Release, and they're coming out storming with this one, including slamming tracks from Smay & Tio-Toni, Punto, Chief303 & Vic-Zee, this one has every base covered and is guaranteed to have the rigs rockin'! Don't miss out on this absolutely killer release! Only 150 copies pressed !!

Autopsy tune is a cool Hip Hop Hardcore banger. Intergalaktic Purifier brings a rave Hardtek-core track. Tripped kicks off everybody with a solid Hardcore Frenchcore track... And Hektek does a Breakbeat Hip Hop warm hangar Hardcore broken track.

Pumpin Tribe from Enguenzeu familly !
With a fun super visual from ExpExp :)

Disco Pumpin Tribe music for a smily party !!
BIG UP !!

Acid banger !!!

enjoy :)

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.

Pumpin South France sound...

With a collab between Uzi and Keja for the opening, creative drops and mental effects.
Then comes a Jarotek and Trizia Moth versus with a Old School inspiraly sound... And a deep drop. tribe is tribe...

The Flip starts with a Keja long 145 BPM tune. Mental Twirler at a sweet tempo... boostable.
Last tune is a superb ragga jungle banger from Uzi. A master piece... Short but wicked !!

Record comes with an Insert and a sticker.

Formed in Taipei in 2013, Scattered Purgatory (破地獄) has occupied a liminal space between drone, ambient, psychedelic folk and ritualistic kosmiche experimentation. Their early work, including ‘Lost Ethnography of the Miscanthus Ocean’ (2014) and ‘God of Silver Grass’ (2016), blended dense instrumental drones, improvisational guitar, and ambient textures rooted in the heat, humidity, and urban pulse of Taiwan. Over the years, the duo-turned-band has drawn on Krautrock, minimalist electronic music, and heavy drone traditions while remaining firmly grounded in Taiwanese geography and culture.

‘Post Purgatory’ emerges after a three-year hiatus following the pandemic, a period the band describes as pivotal to the album’s conception. “The feeling of loss and uncertainty has later become the inspiration of this record, and ‘time’ is the main theme – it can heal or it can destroy,” they explain. Musically and lyrically, the record traverses Taiwanese, traditional Chinese, and English, reflecting the multilingual fabric of Taipei life. While there isn’t a linear storyline, metaphor and poetry imbue the lyrics with reflections on love, loss, and the human experience, interlaced with influences of Hokkien and Mando pop and traces of trip-hop.

Recorded half in their home and half at the studio where they composed their first album, ‘Post Purgatory' integrates precision, clarity, and digital production techniques. Guest contributions—from White Wu’s dynamic drumming to Minyen Hsieh’s tenor saxophone and dotzio’s sci-fi-infused vocals—expand the band’s sonic palette, creating a doom metal record shaped by electronic sensibilities.

‘Post Purgatory’ is a statement of loss and re-empowerment, a bridge between their past and present. Through it, Scattered Purgatory reclaim their distinctive voice, presenting a sound that is at once rooted in Taiwan, informed by global musical traditions, and unflinchingly forward-looking.
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