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Karkossyn returns to the shadows with Undergrowth, a harrowing descent into the Bristolian void that pushes dark drum and bass into its most predatory forms. The EP opens with a cold, eerie prologue. A warning that constructs a menacing world before the listener is dragged into the sonic abyss.

Drawing from dnb, trip-hop, and jungle, the soundscapes are characterized by a visceral dread birthed from the dampest corners of the South West. These tracks are built on distorted bass, gritty drums, and raw percussion, layered with atmospheric drones that heighten the feeling of suspense throughout.

Adding to the murk, Bristol’s own Pessimist provides a remix that results in a skeletal, rhythmic haunting. It is a definitive statement of UK dread, solidifying Karkossyn’s place as an uncompromising architect of industrial-tinged carnage.

Marking a milestone for the imprint, this serves as Erosion’s first physical release.

London Based Deadbeat is a techno label founded in 2000 as an outlet for the more eclectic, risk taking and aggressive elements of the genre. Dedicated to unveiling forward thinking new talent, championing cult underground producers and celebrating established global acts the label has created a loyal fan base and now after more than two decades presents its first vinyl release, a massive six track EP that covers a lot of creative ground and features three artists well known for pushing boundaries while delivering face melting, dancefloor destroying beats.

Sane ( Don't Recordings / Fun In The Murky ) is a Uk based producer and techno DJ who has featured multiple times on the 'Best electronic music on bandcamp' pages. Described there by music journalist Joe Muggs as 'Filthy, dirty, vile and brilliant. His techno will tear the top off your head and make soup with the contents. It screeches, it blurts, it whistles, and it roars. Above all, it crashes and clangs like a dancing mech warrior, crushing all before it. What more do you need to know?'

TSR ( Analog Records / Hörspielmusik ) are a highly regarded creative force of Swedish musical mentalists, a crazed, technologically berserk band of electronic wizards who relentlessly conjure up the most brilliant, silliest, toughest, most dance bootable funky techno on this train of existence. Known for high-energy, raw, and sometimes humorous tracks they have released to high acclaim on many notable labels and played all over the world.

DJ Ze MigL ( Djax-Up-Beats / Minimalistix ) is first and foremost a DJ, but also a producer & a Dude! Creating crazy, funky and sometimes brutal techno mayhem. Residentially from Portugal, he’s been the one of most prolific Portuguese techno producer/ DJ during the last 25 years. Producing and Spinning his own special brand of honkin’ techno, not changing a single cowbell. Never too serious or dark, always with proper party ON!

The record additionally features full sleeve artwork by Ed Twist ( of the influential 'Ugly Funk' label ) and is pressed on yellow vinyl.

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

Experience the raw electricity and boundary‑pushing creativity of Jimi Hendrix with this definitive 1‑LP black vinyl edition of BBC Sessions — a release showcasing some of the most dynamic and intimate performances ever captured by the BBC. Recorded between 1967 and 1969, these sessions highlight Hendrix at his most spontaneous and inventive, delivering explosive renditions of his classics, unexpected covers, and rare arrangements unique to these broadcasts.

Released in November 2023, "Piranha" is the electrifying collaboration album between Brooklyn's own CJ Fly, the lyri-cal virtuoso of Pro Era fame, and masterful producer Stoic. Dive deep into the sonic depths of this mesmerizing pro-ject as CJ Fly's razor-sharp lyricism cuts through the beats crafted by Stoic with surgical precision for a sonic feast that devours everything in its path.

With guest appearances including the likes of Mick Jenkins, Nyck Caution, Lord Apex, Blvck Svm and AMARAH, as well as young legend Lord Sko on one of the bonus tracks featured on this deluxe edition, each track on "Piranha" is a testament to the raw talent and creativity of its collaborators.

With Stoic's immersive production providing the perfect backdrop for CJ Fly's impassioned delivery, "Piranha" is an album that demands your attention from start to finish, a tidal wave sure to leave a lasting impression on hip-hop heads everywhere.

Originally released in 2012, Lord Giveth, Lord Taketh Away captures a defining early chapter in Freddie Gibbs’ rise, pairing his unfiltered street narratives with Statik Selektah’s raw, boom-bap-driven production. Stripped of excess and heavy on realism, the project reflects an era where Gibbs’ sharp lyricism and moral tension took center stage.

The original seven-track lineup features a strong cast of underground heavyweights including Slaine, Daz Dillinger, Reks, PUSH! Montana, Termanology, Fred The Godson, Trae Tha Truth, Smoke DZA, and Chace Infinite—anchoring the album firmly in the early 2010s hip-hop underground.

This limited edition vinyl reissue expands the original release with three bonus tracks: “Carry On” featuring Joey Bada$$, “Serve Or Get Served” (available on vinyl for the first time ever), and “Crushin’ Feelings.” Featuring brand new artwork by Alejandro Torrecilla and mastered for vinyl by Davide "Bassi Maestro" Bassi, this edition stands as an essential archival release for fans of Freddie Gibbs, Statik Selektah, and uncompromising hip-hop.

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

Ltd edition - Random Coloured Vinyl..

“Eternal Almost” is a collaborative album by Japanese musician Tomo Katsurada and Estonian composer Misha Panfilov. Born from the simple joy of songwriting and creative exchange, Tomo and Misha had long admired each other’s music from afar.

When the opportunity to collaborate finally arrived, it felt completely natural, and by the time the album was finished, it almost seemed as though the two had known each other always.

United by a shared sense of humour and musical curiosity, Tomo and Misha poured a raw, honest energy into these songs — one shaped by their intuitive rapport. In an increasingly artificial world, “Eternal Almost” subtly celebrates the qualities that make music feel most alive.

Amid the weight of our current times, the pair hope this album brings listeners a sense of lightness, joy, and of course—a gently surreal journey from beginning to end.

There’s an alternate reality where everyone makes a living wage and the cleanest buses you’ve ever seen arrive every other minute. Where the most intense songs are about confessing your love to a crush at the apple orchard, and where gentle feelings and chaotic energy are inseparable best friends. This is the timeline where Cootie Catcher is right at home. This Toronto based four-piece exudes both vulnerability and unbridled excitement, creating a sound that hypercharges the open-hearted tenderness of twee pop with spiraling synths and giddy electronics. New album Something We All Got is the clearest and most vibrant reading of Cootie Catcher’s vision yet, with songs of sweetness, nervousness, and expectancy that beam out unguarded.
After releasing music made primarily in basement recording environments, Something We All Got is the band’s first flirtation with studio recording. The edges are still sharp, however, with some parts assembled from time-honored lo-fi methods and fun, personally-sourced samples seeping into the production. The sound is explosive and upbeat, with euphoric guitars, bubbly synth lines, speedy drums both played and programmed, and all other manner of sound constantly colliding. Cootie Catcher has three songwriters, Sophia Chavez, Anita Fowl, and Nolan Jakupovski, all of whom have distinctive voices but still manage to overlap in their writing on shared concerns like navigating the lines of romantic and platonic relationships, their city’s social scenes, and struggles in both the microcosmic experience of playing in a band and the zoomed-out challenges of living through late-stage capitalism.
Joy still touches every surface of Something We All Got. “Quarter Note Rock” bounces around the room in a fit of jangling guitar chords, scratched samples, and interplay between breakbeat loops and somersaulting live drums. It’s a blast of positivity even with lyrics about how disappointing it can be to meet your heroes. A smiling electro pop instrumental supports lyrics about having to step painfully away from an almost realized love on “Gingham Dress,” a song that subverts themes of domesticity as a backdrop for the dashed wilt of hopeless devotion.
Cootie Catcher rolls down hills and jumps through flaming hoops throughout Something We All Got without ever dumbing down the visceral emotions that drive these songs. There’s a palpable tension between the band’s exhilarating sonics and the raw, often uneasy sentiments expressed, but it’s an integral part of what makes them unique. Rather than hide behind the kind of calculated vagueness that plagues so much of the indie rock landscape in the time of cursed algorithms, Cootie Catcher runs full-speed toward every confusion and excitement, fearlessly direct and embracing the reality they’re in.

"BLUNTS ROLLED" GSF13 the first posthumous release of unheard music by RAS-G'. Eighteen raw transmissions: unreleased beats, remixes, loops & smoky spacecraft meditations arranged in true mixtape spirit exactly as RAS envisioned them. This isn’t a vault dump, it's RAS_G in full form - unfiltered, joyful, psychedelic & rooted in the low end theory.
"BLUNTS ROLLED" continues the ASP mission: connecting hood to heaven, ancient to future, earthly to astral. These sounds crackle with cosmic dust & Cali sunshine - grounded in LA soil, projected into Saturn’s rings. Featuring transmissions from ASP family Kahil Sadiq, The Koreatown Oddity, Zeroh, and even G himself... voices and energies orbiting each other in intimate, galaxy-folding, head-nodding, fronto-scented universes.

“I wanted to explore how a big band can cry — not only through sorrow, but through joy, tenderness, and release. Music can hold grief and celebration at the same time, and Paid To Cry lives in that space.”
Nils Berg has been a cornerstone of the Swedish jazz scene since the turn of the millennium. Known internationally as an innovative bandleader and collaborator, this release places the spotlight — for the first time — on Berg’s work as a composer for large ensemble.
Paid To Cry is the result of an intensive collaboration with the Norrbotten Big Band, one of Scandinavia’s most acclaimed jazz orchestras. Drawing melodic clarity and emotional directness from composers such as Burt Bacharach and Kurt Weill, while embracing the raw courage of Björk and Sun Ra, and the pulsating minimalism of Steve Reich, the music forms a sound world that feels both familiar and entirely its own.
This is contemporary big band music without nostalgia: physical, vulnerable, and expansive. Written with deep trust in the individual voices of the ensemble, the compositions allow space for both collective force and intimate expression. And what an ensemble to breathe life — and tears — into this music.
With fifteen musicians moving as one organism, Paid To Cry carries enough air, rhythm, and resonance to lift the listener far beyond genre boundaries. It is music that dares to be emotional without explanation, and powerful without grandstanding — inviting the listener to feel first, and understand later.

Jazz violinist Terese Lien Evenstad’s fourth album, Phoenix, is a journey of transformation and renewal. Inspired by loss, motherhood, and a tour in India, TLEQ blends folk-inspired melodies, cinematic soundscapes, and raw intensity into a Nordic jazz sound full of lyrical beauty and improvisational freedom. Each note reflects rebirth, making Phoenix a vivid, expressive musical experience.

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

The Portland, ME trio returns with Feels Like Hell, their most self-assured and emotionally charged record yet. Despite the title, the album is a celebration of personal growth, creative freedom, and defiant joy in the face of a chaotic world.

Coming off the burnout and frustration captured in their 2021 album Quitter, Feels Like Hell finds Sonia Sturino (vocals/guitar), Annie Hoffman (bass/vocals), and Adam Hand (drums) leaning into clarity, gratitude, and renewed purpose. Sturino’s lyrics are as raw and honest as ever, but now they reflect strength rather than despair. It’s an album that drags existential dread into the daylight and sets it on fire.

“I decided to stop being such a sad-sap negative person,” Sturino says. “Now I practice being grateful, being proud, being happy, and not being envious.” That mindset shift shapes the tone of Feels Like Hell, which looks at darkness but chooses not to be consumed by it.

The record also marks the band’s first foray into co-writing, with Hoffman playing a significant role in shaping its sound. Embracing a more intuitive recording process, the trio stripped back the excess and focused on what felt right. The result is a record that’s resilient, cathartic, and brimming with creative energy.

While the world may still feel like it’s falling apart, Feels Like Hell pulses with the power of letting go. Letting go of fear, of perfectionism, of the illusion that vulnerability is weakness. With driving guitars, unflinching lyrics, and a renewed sense of purpose, Weakened Friends prove that it’s possible to stand in the wreckage and still find something worth singing about.

DJ Support: Nic Fanciulli, Joe T Vannelli, Danny Tenaglia, Richie Hawtin, Nick Curly, Shiba San, Adam Beyer, Marco Bailey, Boris, Jamie Jones, Markus Schulz, Tom Novy, John Digweed, James Zabiela, Tiesto, Claude VonStroke, Roger Sanchez, Blond:ish, Adriatique, Paul van Dyk, Joris Voorn, Deer Jade, Vintage Culture & Paco Osuna

Few labels can claim true legendary status in dance music - where trends fade as quickly as they emerge and icons are made and broken overnight. Yoshitoshi stands as one of those rare exceptions.

The label makes its return with a statement of intent: a definitive new remix package of Alcatraz’s era-defining “Giv Me Luv”, a dancefloor classic that hasn’t seen fresh interpretations in over a decade. While the original has remained a staple for those who know, it’s now primed for a new generation of club enthusiasts.

“Giv Me Luv” represents everything Yoshitoshi has been standing for: raw energy, unforgettable hooks, and that indefinable magic that makes a track timeless. Bringing it back with new remixes after all these years demanded artists who could match its legacy.

Enter Sébastien Léger, the French maestro whose thirty-year journey has seen him perform everywhere from Coachella to the Great Pyramids of Giza. His interpretation delivers the sophisticated, hypnotic drive that has made him one of electronic music’s most respected tastemakers and the founder of the acclaimed Lost Miracle imprint.

Alongside him, progressive titan Jerome Isma-Ae, whose unique fusion of trance, techno and house has dominated Beatport charts and earned him breakthrough recognition from Armin van Buuren, unleashes his signature sharp, breathtaking power on the classic.

The vinyl also includes the original mix on the B-side, completing a package that marks Yoshitoshi’s triumphant return to form.

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

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.

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".