Search:r e m three

Chino, AKA Artur Oles, makes his debut on brokntoys with The Chase, a new EP drawing on new beat, electro and acid influences. Across three tracks, the Polish producer builds a slow, tense atmosphere where nothing is hurried and the pressure only tightens. Closing the record, Not Waving cuts loose with a driving acid trance rework, pure propulsive 90s rave.

Edition of 100 copies including an A4 insert.

From our brother and close friend of the label, Omar Fayyad, comes Perpetual State EP, his first solo EP on vinyl Three personal tracks that unlock previously unfathomable levels of deepness.

Music for late nights and early mornings.

Daybreakers reaches a milestone with DBR010, and it felt right to mark the occasion with something truly special.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential records on Lazy Days and beyond, the Montreal based producer has quietly become one of the most respected names in deep house. A producer's producer, a DJ's DJ, and someone whose records seem to reveal a little more with every listen.

The story behind this release starts in Hackney. A few beers at the BBE Store, a conversation about old DAT tapes and eventually enough persuasion to get Fred digging through his archives. What came back was pure gold: three previously unheard tracks recorded between 1998 and 2004, sitting untouched for over twenty years.

There's something special about hearing these recordings now. Made during a period that saw Fred establish himself as one of deep house's leading voices, they capture that unmistakable blend of musicality, groove and craftsmanship that made his records stand out in the first place. This isn't nostalgia or a history lesson. These tracks still sound fresh, still sound relevant, and most importantly, still sound like they belong on a dancefloor.

Three lost gems, finally seeing the light of day.

Deeper than deep house.

Buy or cry.

Cécille Records revisits a standout cut from long-time label associate Christian Burkhardt, inviting Ben Sterling and Shokë to put their own stamp on “Content Creator”.

Long-time friend of the label Christian Burkhardt, hailing from Frankfurt, has been pushing his distinctive take on house and techno for more than two decades, combining complex, moving rhythms with the warmth of analogue gear. With releases across labels including Cocoon, Cuttin’ Headz, Oslo and Eastenderz, alongside his own imprint CB Sessions and Cécille, his sound has always felt naturally connected to the label.

The strength of the original opened the door for two contrasting interpretations. First up is London’s Ben Sterling, whose UK-rooted house and tech house influences and forward-thinking production style made him a natural choice to rework the track. His remix pushes “Content Creator” into a different space while retaining the character and groove at the heart of Burkhardt’s original.

Completing the package are Naples-based duo Shokë, returning to the label following their “Chiamami EP”. With the release still making its mark in the charts, the duo continue their close connection with Cécille, reshaping “Content Creator” through their own warm, groove-led house sound and unmistakable dancefloor energy.

Christian Burkhardt’s original sits firmly at the heart of the release, joined by two individual interpretations from Ben Sterling and Shokë – three cuts that each bring their own character while sharing the groove and timeless house aesthetic at the core of Cécille.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

The legendary Charlemagne Palestine returns to Black Truffle with KKKAAARRREEENNNIIINNNAAA, capturing a 2025 performance in London alongside two close collaborators of recent years, multi-instrumentalist Daniel O’Sullivan and guitarist Oren Ambarchi. While perhaps still best known for the ecstatic piano clouds of his ‘strumming music’ performances, Palestine’s life-long search for what he calls the ‘golden sound’ has taken in an enormous variety of methods of sound production. Now stretching back an incredible six decades, his exploration of continuous sound forms has led him to mega-instruments from the carillon bells of the Saint Thomas Episcopal Church to the synthesizer armada of the Moog Sound Lab, with stops along the way at many of Europe’s grandest church organs. Just as important, though, has been Palestine’s practice as a singer, beginning with his childhood experience of sacred Jewish music and growing through his studies of Indian and Javanese musical traditions in the 1970s.

KKKAAARRREEENNNIIINNNAAA reimagines a key work showcasing Palestine’s voice, the haunting ‘magic song’ Karenina for falsetto singing and harmonium, recorded in Paris in March 1997 to honour the spirit of Palestine’s recently departed black labrador. In this trio version, which Palestine describes as the ‘karaoke’ version, O’Sullivan controls three cassette machines playing the original recording, their slow drift out of phase creating complex patterns of delays and ricochets as the recorded voice chants the syllables of Karenina’s name and other trance words. Beginning with a held organ tone that gradually expands to fill out the frequency spectrum, the piece soon grows into a dense psychedelic mass, as Palestine’s electric organs and the echoing pre-recorded voices are joined by Ambarchi’s swirling Leslie guitar tones and O’Sullivan’s viola, synthesizer and additional vocals. Atop it all sits Palestine’s live voice, in an extraordinary performance of keening, shamanic intensity, sometimes delivered in melodic unison with his keyboard playing.

Though clearly a work of Palestine’s design that sits squarely within his oeuvre, Ambarchi and O’Sullivan are far from simple accompanists on KKKAAARRREEENNNIIINNNAAA. As the elements of the teeming, emotionally charged stew writhe and twist, different elements come momentarily to the surface, O’Sullivan’s spaced-out viola taking the lead in moments that recall Kosugi’s Catch Wave, Ambarchi’s gliding chords and signature stuttering tones enriching the details of many of the quieter episodes. Throughout all its transformations, the music is buoyed up by a sacred aura, as Palestine intones his hypnotic prayer for the soul of his departed pet. Arriving emblazoned with a striking labrador painting by O’Sullivan on the cover, KKKAAARRREEENNNIIINNNAAA is an essential slice of modern ritual music.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Vintage Pleasure Boutique returns to the classic Hotsound Records catalogue with Primero’s “Oh Que Calor”, another unmistakable production from Michiel van der Kuy.

This vinyl edition brings together three newly remastered original versions: Extended, Radio and Instrumental, preserving the sound and atmosphere of the original release, alongside fresh remixes from A.P. Mono, Spacehawk and Disco Computer.

All three remixers share a fascination with Van der Kuy’s signature sound. Their interpretations may take different routes, but the original DNA remains intact: pulsing synths, Linn Drum, cosmic melodies and that unmistakable late-’80s vocal spacesynth energy.

And “Oh Que Calor” still has the power to transport you somewhere else entirely: to a seaside resort on some Spanish coast, sometime in the late 1980s – hot nights, neon lights, open-air dancefloors and a whole summer soundtrack built from Italo Disco, spacesynth and electro. Somewhere between the beach and the club, Primero feels completely at home.

For fans of Laserdance, Koto, Cyber People, Proxyon and Sisley Ferre, this is both a return to the original and a new chapter.

Three original versions. Three new remixes. One unmistakable Hotsound DNA.

A single track, four hands. Damage Music puts Alexander Kowalskis "Sinee" through the machine and lets three producers find their own way in. The original stands. The remixes do what good remixes should, not explain, but reinterpret. SMBR, Sven Köhne and GZI each bring a different angle to the same raw material, keeping the record tense and coherent from first groove to last.

The complete album + 2 bonus tracks - limited edition pressing on 180g purple coloured vinyl, with album cover image by the late American jazz photographer Bob Willoughby (1927 - 2009)

TW Limited returns with a amazing three-way collaboration bridging acid, deep house and Detroit-rooted electro. Andu Simion, Unio Mystica and Donnie Smojk trade tracks across a tight 12 Inch, drawing a line from late-80s warehouse times to a stripped-back, hypnotic present.

2026 Repress

Next year the iconic anthem Cafe Del Mar will celebrate its 30th anniversary, a landmark that will be celebrated with a series of brand new remixes alongside the finest existing remixes in specially remastered versions.
Launching the series of vinyl releases in September is a remastered vinyl-only release of the original mix, as well as the best-known version of this classic track, the iconic Three ‘N One Remix.
Nearly 30 years ago, Paul M aka DJ Kid Paul recording as Energy 52 unleashed a record onto an unsuspecting public that would go on to define club culture for an entire generation of dance music enthusiasts. Named as an homage to the legendary Ibiza sunset spot, Café Del Mar broke down boundaries between the underground and
the mainstream, charting in the UK singles charts on three separate occasions and named as the “best tune ever” by Mixmag at the start of the new millennium. In terms of cultural and emotional impact in dance music, it’s hard to find a record that comes close.
Café Del Mar has come to represent the most euphoric and hedonistic pleasures of dancefloors - in Ibiza and all around the world - and has been remixed by some of the biggest names in the industry. Now, 30 years after its original release, Superstition Records will be putting out a new series of releases, with brand new remixes as well as remastered versions of some of the many remixes from across the last three decades. The vinyl-only remastered version of the original and Three ‘N One mixes will launch the series, with further details about the rest of the series announced in the coming weeks.

In 2021 Paul Van Dyk’s Café Del Mar remixes launched a series of vinyl and digital re-issues on the Superstition Records imprint after an almost 20 years hiatus. From 1993 until 2003 Superstition Records was a groundbreaking Techno, Tech-House and Trance Label and released some of the biggest and most revered records of the early German electronic scene.

Amazing! RCA returns with a special three-track release from Funk D’Void & Friends, bringing together three different sides of the house spectrum across one beautifully connected journey. From the warm, rolling groove of the opener through a deeper, more hypnotic middle cut and into the tougher, more driving territory of the closer, each track has its own character while working perfectly as part of the whole. Funk D’Void & Friends doing what they do best. Deep, soulful and groove-led house music with just the right amount of edge. Three tracks, one journey, no filler.

Dame-Music celebrates its 55th release with Second State Of Reality EP, a special reissue of two acclaimed Bloody Mary tracks, “Reality One (Acid Mix)” and “Reality Three (909 Mix)”, alongside a brand new remix by techno legend Chris Liebing, one of the genre’s most influential and enduring artists.

For the A-side, Bloody Mary invited Liebing to reinterpret “Reality One (Acid Mix)”. A long-time supporter of his work, she wanted to hear her track through his distinctive sonic approach. The result is a heavy, driving techno remix, pushing the original’s acid energy into darker and harder territory.
The B-side returns to Bloody Mary’s hardware roots, with crunchy TR-909 drums, crisp highs and mind-melting 303 sequences across two raw, hypnotic cuts.

A special reissue celebrating the 55th release on Dame-Music, bringing Bloody Mary’s acclaimed hardware productions back together with a fresh Chris Liebing interpretation.

Sol Novo is a tale of three parts, created by João Comazzi and Murrin of Púca Sounds & Jogada. In many ways a sequel—and a not-so-distant cousin—to 2022’s Cavalo, the pair return to blend their references into a new, ultra-visual language. Spinning through a sonic world mired as much in greenery as it is in the underground, Sol Novo invites you along for the ride.

The title track, "Sol Novo," whirls into a dubbed-out dawn break, collaging through samples and organic ear-catchers while sun-drenched choruses weave through the mix, reverberating as the light lingers.

On the second track, "Pindorama," Paszarinha’s call to the space-warp curls out from under dark blue bass. Fitting equal parts dreamland and dance floor, the track builds a world to get lost in through ever-orbiting breaks layered with Côco rhythms echoing in the deep.

The final track, "Brasia," arrives in full color: a story led by elements of Gagaku with Axêxê chants and a shimmer bathed in vintage synths. Landing like a call to movement that pulls you up and keeps you moving, it’s a kaleidoscopic sound caught between ancient ritual and electronic nostalgia.

2026 repress!

Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O'Neill, and producer Lewie Day. 'a.s.o.' is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O'Neill show they've mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work.

We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow- burning AOR-soul, and dubwise stylings. As a result, 'a.s.o.' is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It's an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity.

It's anchored by Alia's unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day's music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space.

'a.s.o.' is a journey; by its end, we all are changed

following two releases dedicated to sydney's atone, tonal oceans now turns its attention closer to home. after several years in the making, this release reintroduces the berlin trio die elektronische wohlfahrt in a revised form. nearly three decades after its original release on lab records in 1997, alongside the original 12" material, it includes two short pieces from the treffpunkt freizeit cd. die elektronische wohlfahrt was a short-lived project formed by kai kroker (rawell), peter lay, and anne westphalen. their recordings grew organically from late-night after-hours sessions in their studio in berlin's pankow district, capturing a unique blend of warm, quirky and playful textures. although their recorded output was rather limited, die elektronische wohlfahrt occupied the same creative circles as artists and friends such as move d and jan jelinek, at a time when berlin was establishing itself as one of germany's most innovative electronic music hubs. the group also performed at the legendary interference festival, one of germany's key underground electronic events of the 1990s. founded by dr. motte and uwe reinicke, the festival later evolved into interference records, where die elektronische wohlfahrt released the caro ep in 1996, further cementing the project's place within berlin's underground electronic scene. over the past few years, the music has quietly found its way into the hands of a new generation of listeners and discerning tastemakers, making its return feel long overdue.

Nearly three decades after first forging one of underground hip-hop's most enduring creative partnerships, Aesop Rock and Blockhead reunite for Trouble Mountain, a new full-length meditation on escape, survival, and the strange terrain of everyday life. Inspired by the nostalgic promise of Poconos resort commercials that blanketed New York airwaves during their childhoods, the album imagines a fictional getaway where the search for reinvention proves just as disorienting as the reality left behind. Arriving as Aesop Rock's 13th studio album, Trouble Mountain finds his writing as inventive as ever—transforming family history, work, memory, and the absurd mechanics of modern life into vivid, deeply human reflections. Blockhead's production is equally vital, pairing the duo's unmistakable chemistry with lean, evolving soundscapes that feel both familiar and newly exploratory.
Together, they revisit the themes that have connected their work since Labor Days: labor, alienation, and the enduring hope that there's somewhere else we'd rather be. Rather than offering an escape, Trouble Mountain asks why we're always searching for one—delivering one of the duo's most imaginative and resonant collaborations to date.

Nearly three decades after first forging one of underground hip-hop's most enduring creative partnerships, Aesop Rock and Blockhead reunite for Trouble Mountain, a new full-length meditation on escape, survival, and the strange terrain of everyday life. Inspired by the nostalgic promise of Poconos resort commercials that blanketed New York airwaves during their childhoods, the album imagines a fictional getaway where the search for reinvention proves just as disorienting as the reality left behind. Arriving as Aesop Rock's 13th studio album, Trouble Mountain finds his writing as inventive as ever—transforming family history, work, memory, and the absurd mechanics of modern life into vivid, deeply human reflections. Blockhead's production is equally vital, pairing the duo's unmistakable chemistry with lean, evolving soundscapes that feel both familiar and newly exploratory.
Together, they revisit the themes that have connected their work since Labor Days: labor, alienation, and the enduring hope that there's somewhere else we'd rather be. Rather than offering an escape, Trouble Mountain asks why we're always searching for one—delivering one of the duo's most imaginative and resonant collaborations to date.

Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.


I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.


‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.


WHO IS MOHAMMAD SYFKHAN


Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.


Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.

This album presents 22 live-in-the-studio BBC recordings from 1963–1965 that have never been released before. It includes all the hits and misses from that period, along with three tracks that were never recorded for EMI: Chuck Berry’s Johnny B. Goode, Jagger and Richards’ So Much In Love, and the band’s own composition Falling In Love Again—previously undocumented. For fans of The Swinging Blue Jeans, this long-awaited release is a must-have.
Sleeve notes by Peter Checksfield.

Isaac Carter returns to his own OCHI imprint with the 'Turn Me Up' EP. Carter renews his collaborative relationship with Biyi, along with an additional three dance-floor ready cuts in his trademark style. Grab these while you can!

What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.


“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.


Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.


All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.

Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.

Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.

Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.

Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.

From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.

Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.

Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.

Because when you are truly lost in music, there is no past and no future. There is only now.

And now is forever.

DJ, model, artist and selector Yuka Mizuhara steps forward with her standout 12-inch release 'Moon Dust' on Rush Hour. For her debut release, she joins forces with producers Benedek and Mickey de Grand IV (Psychic Mirrors), delivering a vibrant boogie and city pop-influenced transmission that bridges contemporary rhythm with classic, sun-drenched grooves.

Having spent formative years immersed in the underground music scene in Tokyo, with extended stays in Los Angeles and London, Mizuhara channels a rich blend of influences into her work. Known widely for her encyclopedic all-vinyl DJ sets, her residency on NTS Radio (Wave Flower), and high-profile collaborations with legends like Haruomi Hosono, Yukihiro Takahashi and Towa Tei, her musical output reflects a deep appreciation for groove, melody, and rhythm, carrying the torch of foundational Japanese techno-pop, experimental, and dance music forward.

On Moon Dust, Benedek returns fully to his signature West Coast boogie roots, laying down rolling, intricate synth basslines and melty chord progressions that form the heavy-grooving backbone of the record. Around this foundation, Mickey de Grand IV and Yuka Mizuhara write and weave extraordinarily catchy, endearing vocal melodies and hook-laden arrangements. Across its three distinct mixes, the track radiates Yuka's cute spirit—evoking a bubbly, high-spirited aesthetic reminiscent of classic 80’s RAH Band productions while blending sophisticated electronic arrangement with warm, organic dance floor vitality.

Fully stepping into her own as a recording artist following recent debut performances at major festivals like RDC and Rally, Yuka Mizuhara invites listeners into a romantic, synth-laden world built on pure groove and creative freedom.

Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.

‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.

The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.

Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.

For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.

Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.

Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.

Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.

It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.

My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.

My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.

Cyphon Recordings welcome DJ, producer, musician, and D.KO co-owner Flabaire for the fourth outing on the label.

At just 29, the Parisian artist, already has a fair share of victories under his belt. On his acclaimed D.KO imprint, which will celebrate its 10th anniversary this year, he’s released three albums and several EPs, as well as charting releases for Organic-Music, Deeppa Records and South Street.

For his next solo EP, he brings his beautifully affecting and nostalgic blend of electro, IDM, and deep house to Cyphon. Doing what he does best, Flabaire’s ‘Entre-Deux’ is an EP brimming with emotion and atmosphere. Pulling at the heartstrings, opener ‘In Between’ layers an electro beat over lush pads with iridescent synth lines rising out of the haze. Cowbells swing into action, pads swell and glisten, making way for a squelchy 303 to bubble underneath.

‘No Minding’ moves into softer realms, a serene blend of deep house and electronica, it’s paced by a warm bass bounce and shuffling percussion sprinkled with chopped vocal samples and bright keys. Flabaire’s bass mastery continues ‘Click Plok’, as does his deftness at producing delicate, gliding pads, this time punctuated by tight bleeps, gentle open hats, and a meandering synth solo.

Closing out the EP the atmospheric ‘FBG’, a balmy syncopated groove joined by twinkling synth melodies that dance over dusty breakbeats and hushed vocal stutters.

Hailing straight from Quebec City, Canada, GET THE SHOT is a hardcore band formed in 2009. With their strong work ethic, they quickly established themselves as one of the flag bearers of the Quebec hardcore and metal scene.

Their powerful music incorporates elements of thrash, death metal, and hardcore, creating an intense and brutal sound that captivates fans of the genre. Inspired by iconic bands such as Hatebreed, Obituary, and Slayer, GET THE SHOT has developed a unique style of extreme music.

With an impressive discography including albums such as "Perdition" (2012), "No Peace In Hell" (2014), "Infinite Punishment" (2017), and their latest album "Merciless Destruction" (2022), nominated for a JUNO award, GET THE SHOT has built a solid reputation with impactful tracks and explosive live performances.

“CRUCIFIXION DEPICTION”, marks a shift in attitude and resolve for the band. While celebrating the addition of a new vocalist and the comeback of the original guitar player, the latest EP sees the band undergo a transformation into a new persona and exploring a more visceral sound, while sticking to its hardcore roots.

After more than 700 concerts on three continents, including some on the biggest international stages such as Wacken, Hellfest, FEQ and Resurrection Fest, the six members remain committed to the core values of authenticity, integrity, and equality at the heart of the hardcore movement, while addressing with disillusioned realism the flaws of an era defined by blind individualism.

Hailing straight from Quebec City, Canada, GET THE SHOT is a hardcore band formed in 2009. With their strong work ethic, they quickly established themselves as one of the flag bearers of the Quebec hardcore and metal scene.

Their powerful music incorporates elements of thrash, death metal, and hardcore, creating an intense and brutal sound that captivates fans of the genre. Inspired by iconic bands such as Hatebreed, Obituary, and Slayer, GET THE SHOT has developed a unique style of extreme music.

With an impressive discography including albums such as "Perdition" (2012), "No Peace In Hell" (2014), "Infinite Punishment" (2017), and their latest album "Merciless Destruction" (2022), nominated for a JUNO award, GET THE SHOT has built a solid reputation with impactful tracks and explosive live performances.

“CRUCIFIXION DEPICTION”, marks a shift in attitude and resolve for the band. While celebrating the addition of a new vocalist and the comeback of the original guitar player, the latest EP sees the band undergo a transformation into a new persona and exploring a more visceral sound, while sticking to its hardcore roots.

After more than 700 concerts on three continents, including some on the biggest international stages such as Wacken, Hellfest, FEQ and Resurrection Fest, the six members remain committed to the core values of authenticity, integrity, and equality at the heart of the hardcore movement, while addressing with disillusioned realism the flaws of an era defined by blind individualism.

On Beginningless, Anna Butterss, John Raymond, and Ben Lumsdaine combine acoustic instruments and effects to create a nocturnal, neon landscape both grounded and otherworldly. Recorded live over two days in a Los Angeles studio, the album expands the trumpet-bass-drums format through shared intuition, fluid textures, and patient, elastic interplay. The music is entirely improvised, with little overdubbing or post-production: what you hear is essentially the sound of three musicians discovering the music together in the room, using pedals and processing as extensions of their instruments.

n resurrecting the band Krill—declared dead over 10 years ago—Jonah Furman considered the turritopsis nutricula: the “immortal jellyfish” that reverts to juvenile form instead of dying. “I was always afraid of coming home,” he says. “But home is inescapable.” Now living in the same Chicago suburb he grew up in, Furman ponders the passage of time on Secret Language, a nostalgic and cerebral exploration of family, fatherhood, and fated love.

From 2010 to 2015, Krill recorded three LPs and two EPs, growing into a cult project revered for its complex, rapturous compositions. Anxious, anthemic, mathy, propulsive, they were beloved by Frankie Cosmos, Girlpool, Horse Jumper of Love, and countless others. Personal lives took priority and brought the project to an official close, save for two reunion shows and a 2020 album under the name Knot, but that's retroactively a Krill album, “because it's easier that way.”

The project was revived “on a whim” as Furman puts it: “Theo from Ovlov asked if Krill wanted to open a Chicago show. Then I started writing new stuff.” He recruited Krill’s longtime drummer Ian Becker who, too, had just moved back to town. Both had known guitarist Andrew Clinkman (also of Spirits Having Fun and Moontype) during their collective years in Boston and growing up in Chicagoland, and soon he joined the fold. On Secret Language, the trio tap into their reclaimed city’s famed music community, drawing inspiration from current locals the same way Krill were inspired by their Boston contemporaries like Pile and Speedy Ortiz instead of Pixies or Mission of Burma.

On Secret Language, home can be anything: a place, a person, a feeling. But Krill is “very much” a Chicago band now; a new beginning where it all began.

A well needed vinyl re-issue of these sought after Break 3000 Electroclash classics from the period 1999-2003.
Originally released on Meuse Muzique in Maastricht, The Netherlands.

"Plastique People feat. Zusi" became a club hit again these past few years and saw the original vinyl prices soar on Discogs. "Last Emotion" was previously unreleased and brought back to live again thanks to the great Argentinian label "Calypso's Dream" who did the fine "The Rise Of Poseidon I" release three years ago that also included the fierce banger "Sacrifice", which became a hit back in the days when it was first featured on the massive DJ Kicks compilation by Tiga in 2003. The re-issue by "Calypso's Dream" sold out in a few weeks and was never re-pressed. The vocoder anthem "Emolotion" saw a vinyl only comeback on the cool Italian label "Mondo Phase" from Milan together with "Plastique People" in 2023, these limited copies were gone in days as well.

As a lot of people missed out on these Electroclash anthems by Break 3000 in the first vinyl re-issues we thought now is the right time to give them another run and make them available again. Enjoy!

All tracks were re-mastered by Salz Mastering in Cologne. Music & Art by Break 3000.

Acid Pauli returns to the curious world of Gwar Is Not The Answer (originally released 2006 on Smaul) with a carefully remastered re-release that includes two new remixes from Jonathan Kaspar and Acid Pauli. The title track unfolds at an unhurried pace, weaving loose acid traces through warm percussion and off-centre melodic fragments that seem to appear and dissolve before settling into place. It drifts forward with a quiet sense of momentum, balancing eccentric textures with a groove that remains firmly grounded throughout. With his new remix Jonathan Kaspar takes the original into leaner territory, sharpening its contours and drawing out its tension while preserving the peculiar character at its core. His remix stretches the track into a more focused club framework where rolling low-end pressure meets finely tuned rhythmic movement, allowing small details to carry unexpected weight. On the flip Acid Pauli revisits the track from a different angle. The remix opens up the source material into a spacious and fluid arrangement where shimmering tones circle around a deep pulse and subtle harmonic shifts gradually reveal themselves over time. Together the three versions explore different dimensions of the same musical language, moving between psychedelic house, understated dancefloor functionality and the kind of idiosyncratic storytelling that has long defined Acid Pauli's work.

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.

Australian label sense. debuts its vinyl-only imprint with a limited first release from none other than Romanian-born Alin Crihan.

Alin delivers three stripped-back, dark, atmospheric rollers guaranteed to become instant mood-setters for underground dance floors, while rewarding patient and attentive listeners.

We are then treated to an enchanting, eclectic ambient piece that feels truly cinematic, an absolute must-listen. Close your eyes and let your mind wander…

sense. is a project focused on timeless music over trends, creating a platform that aims to inspire and open the ears of its local audience through carefully curated musical experiences, connecting the Australian party scene with international artists deeply rooted in the minimal genre.

American Joe Babylon has been steering his Roundabout Sounds label through calming deep house waters for a decade or so. He has recently focussed on assembling this ongoing All Hands series (the name may be a nod to the analogue gear the tunes are made on? Sound-wise, it checks out) and volume three features another fine quartet. First up is DJ Honesty with a fine label debut in the form of the synth-laced swirler 'Walking Down Gratiot,' then label friend Mr. Hazeltinee aka John Tejada layers comic pads into an upright house rhythm on 'Zanzmatic'. San Francisco and more specifically Bay Area man Federsen offers super lo-fi and reserved deep house cuddle 'Sequential' while Babylon himself drops the slow burn shuffle of 'Play It By Ear'.

DiG Records’ latest release is a reissue of one of the most remarkable Russian electronic albums of the 90s. Available on vinyl for the first time, 100 Photography Lessons is the 1993 debut album by the duo Block Four, with a rich sound spanning a wide range of genres, from downtempo and experimental electronics to trance and techno.

Block Four was formed by Oleg Salkhov and Konstantin Smirnov in the early 1990s at Moscow’s SNC Studio. Salkhov was the studio’s first recording engineer, working with bands including Moralny Kodeks and Megapolis, while Smirnov came from Nikolai Kopernik, where he had already been experimenting extensively with electronic instruments.

The album is built around sampling, experimentation, and a broad range of influences. Block Four drew sounds from jazz, classical music, rock, hip-hop, folk and electronic music, as well as films, VHS tapes, and radio broadcasts, gradually assembling their own extensive library of samples and loops. Combined with synthesizers, samplers, drum machines, unconventional rhythms, and harmonic ideas, the duo brought all these elements together to create their own distinctive sound.

100 Photography Lessons captures a brief but important period when Russian electronic music was still developing its own language. Freely blending sampling, electronic instruments, and influences from a wide range of musical traditions, Block Four created an album that still sounds compelling more than three decades later.

LIMITED RELEASE Originally released in 1991 on the seminal ZoeMagik Records, San Francisco is one of the defining documents of the early Bay Area rave underground. Tasti Box -- the duo of Kelix Williams and Mouse -- brought together house, techno, breakbeat and psychedelic rave music into a sound that was unmistakably their own. Born from the free-party culture of early '90s San Francisco, their music found its way onto legendary sound systems and dancefloors around the city, helping shape the distinctive West Coast sound of the era. More than three decades later, we're bringing this elusive classic back to vinyl.