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Magnatek / Gepardenmantel marks the return of Fratelli Malibu to La Scimmia Records, six years after their 2020 debut.

This time, the sound digs into different shadows, shifting toward a colder and more obsessive European aesthetic. Andrea De Fazio and Paolo Petrella leave behind the vibes of their first record to dive into the raw pulse of electronics: a mechanical heartbeat that echoes the urgency of radical clubs, built on tight, stripped-back rhythms.
The vinyl version (12" 45rpm) features two extra synth and drum machine tracks at the end of each side, a treat for DJs and producers.

The digital version expands the project with further bonus tracks, including edits by Federico Gallotti and the dub version by Paolo Petrella.

Those with long memories may remember the hush-hush Needlewreckordz imprint, an outlet that delivered B-more club, Miami bass and house style versions of r&b and hip-hop jams. Here the same crew returns with two killer cuts that once again make use of uncredited soul vocals. A-side 'FloYes' is a genuine triumph, with sensual (sampled) vocals, synth-sax, heavy sub-bass and deep, languid piano motifs rising above an infectious bossa-house beat. Over on side B, 'Motto Talk (Degrassi Mix)' sounds like South African deep house with a twist - all DJ Mojave beats, warped sub-bass, heady soul vocal samples and raw synth-strings. Excellent stuff all told.

COS 010 - Environmental Architecture A fusion of ambient, techno and IDM, often described as a form of “mental abstraction.” Created by Mark Cheney in a bedroom in Clapham, this release captures a moment defined by raw imagination and open-ended experimentation. It sits alongside artists of that era such as B12 and The Black Dog.

It stands as a perfect reflection of that era – raw, inventive and deeply evocative – leaving a lasting sense of nostalgia for those who experienced it. For the first time, this release has been remastered and cut by Mike Grinser at Manmade Mastering. Pressed on 180g vinyl, it sounds exceptional - rich, detailed and full of depth. Originally intended for home listening, it’s been cut loud so it can be played in a club setting.

A decade has now passed since French-Algerian collective Acid Arab (a studio and live outfit helmed by producers Guido Minisky and Hervo Calvalho) wowed the world with their debut album Musique De France. Since, they've delivered two more albums, both of which take different approaches to fusing electronic beats and instrumentation with North African and Middle Eastern sounds and vocals. Resonance, their fourth full-length, sees them return to the raw, analogue-rich and bass-heavy club sounds that marked out their formative years at the turn of the 2010s - all heady Arabic vocals, traditional instrumentation, moody grooves, twisted acid lines and knowing nods to everything from acid house, new beat and EDM to industrial funk, dark new-wave throbbers, and the mid-tempo psychedelic pulse of new beat.

Stólar label boss Philipp Priebe delivers the inaugural long player on his own imprint this December, entitled ‘Movements In An Empty Department Store’ and comprising eight original compositions from the German artist. This LP is about a kid’s dream - one night alone in an empty department store. A dream come true for lots of children and adults, as it gives you the opportunity to do what you want, try everything without the side eye of employees, snack through the entire food and sweets section and have a night off without thinking about consequences. This can become great, a nightmare or a feverish dream these eight tracks are your soundtrack to this adventure. Throughout the ‘Movements In An Empty Department Store’ album, Priebe further showcases his ability to craft, raw, cinematic and often mystical deep house music that acts as a cosseting sonic blanket for the listener throughout. From the swelling bass lines, dubby echoes and ethereal textures found in tracks like ‘Marble’, ‘Porcelain’, ‘Drenched In Dust’ and ‘Fever Dreams’, through to more rugged percussion driven dance floor tools like title-cut ‘Movements In An Empty Department Store’, ‘Cedar’ and ‘Clouds Floating In A Haze Of Light’ or the pensive, haunting closer ‘On The Way Out’, Philipp Priebe once again proves himself as a remarkable composer with a striking ear for detail and depth.

Frenzy steps back into the warehouse fog for FRNZYREC012, marking the arrival of Mees Javois with the Eyes Without A Face EP. This six-track collection functions as a raw blueprint of the early hours, where the steady pulse of hardware meets a stripped-back, mechanical soul.

Already turning heads in the underground circuit, Mees brings a fresh yet timeless approach that feels equally suited to intimate basements and peak-time dance floors. His debut on Frenzy introduces an artist with a clear vision and a deep understanding of club music's darker edges.

FRNZYREC012 is a singular vision of the dancefloor, a deliberate sequence of sound that balances cold precision with a visceral human touch.



c A3: Mees Javois - Reflection Matrixxman Remix

A divine transmission continues…

The signal never stopped — it just went deeper.

For the second chapter of JESUS LOVES SKYLAX, we return to the source: raw emotion, machine soul, and the sacred pulse of the underground. A continuation of the Todd Edwards spirit — not imitation, but devotion. On the A-side, Byron The Aquarius opens with “House Music Was Good While It Lasted (Goodtimes)” — a bittersweet sermon in sound. Dusty, looping, hypnotic — somewhere between lost tapes and eternal truth, echoing the soul of Detroit at its most intimate. UK craftsman Tom Carruthers follows with “Crank Up” — raw, skeletal, almost industrial in its tension. A direct lineage from early machine music, channeling the stark energy of Cabaret Voltaire through a house framework. No compromise. Just rhythm and intent.

Flip the record.

Blue Mondays deliver “Warm Up For Ron Hardy (Disco Mix)” — a fever dream built for the booth. Loose, emotional, and dangerously effective. A tribute not in name, but in spirit — the kind of record that lives between two worlds, where disco dissolves into house under strobe lights and sweat. Closing the EP, CNVX – “L’Amour (Floorfillers Remix)” hits with pure peak-time electricity. Acid lines twisting through the mix, driven and ecstatic — a modern weapon forged in the language of the underground. A direct nod to the timeless pressure of Floorfillers energy, built for dancers who still believe.

✝ JESUS LOVES SKYLAX ✝

He still does.

In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.

Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.

The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.

Eli Zem - Kiss My Music EP 12"
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Born from the idea of capturing a musical fragment from Eli Zem’s latest live set and transforming it into a four-track journey, Kiss My Music creates a fluid sonic passage designed to make people dance while immersing them in a unique experience.

Blending hypnotic grooves, raw energy, and refined textures, the EP reflects the distinctive spirit of the Disordine School movement and its vision of underground electronic music.

2026 Repress

DJ Support: Louie Vega, Ralf Gum, Jihad Muhammad, Zepherin Saint, Mr. V, Doug Gomez DjPope, DJ Beloved & Brutha Basil to name a few.

Sean McCabe’s Good Vibrations Music label opens the vault doors for a peek inside some of its closely guarded & much-loved releases courtesy of this special limited edition 12 inch. Featuring 4 new to vinyl releases & including a raft of luminary names from across the soulful spectrum this is sure to be a be a hot fave with long standing fans of the label.

Glenn Underground’s Jazz-Funk fuelled rework of 'This Place' kicks things off and needs no introduction… heavily supported & much loved through the soulful circles & beyond with the likes of Louie Vega, Dave Lee, Jimpster, Jamie 3:26 & Fred Everything (to name a few!) all loudly banging the drum – people have been clamouring for this to be on vinyl. You spoke, we listened!

Up next is 'Modulate', a collaborative force of the highest order between Sean & long-time friend Black Sonix. Expertly fuzzying the lines across Deep, Soulful & House is somewhat of a speciality for the duo respectively and there’s bags of all 3 intertwined throughout alongside a hefty sprinkling of sun-kissed, Latino-inspired pianos.

'Still Standing Here' kicks things off on the B-side and begin in March 2022 as vocalist Madeeha recorded an accapella vocal idea in a phone voice message, quietly singing into her phone to avoid waking the neighbours. She sent the idea to drum & bass producer from Bristol, DJ Mixjah, who then approached friend Sean McCabe with the idea. Together they produced a hypnotic afro-tinged soulful backing track to fit with the voice message, with an intention to re-record it in a studio environment. Sean and Mixjah soon realised that the music they had created blended perfectly with the sincerity, intimacy & rawness of Madeeha's heartfelt performance in the original voice message and decided to stick with it. A firm fave for Atjazz, Crackazat , DJ Spen & Emmaculate.

Wrapping things up is 'You Don’t Know', a slick & energetic dancefloor bubbler from London based producer/DJ ‘David Bailey’ and Canadian soulful songstress ‘MissFly’. David Bailey is a firm favourite amongst the London house music community. He’s produced standout releases on labels such as Idris Elba's 7wallace, Makin Moves, Good Vibrations Music, Rhemi Music & Unquantize. MissFly is known for her soulful serenades and ability to write songs 'on the fly' in the studio. She has carved out an impressive discography on soulful house nuggets such as '1972,' 'Wanna Love You' and 'Thankful'

Side A begins with CEM3340 & 2030’s “I Don’t Know”, a Detroit-inspired electro cut merging crunchy basslines, warm strings and raw energy, showcasing the nostalgic yet forward-thinking music crafted by two key figures of the Italian electro underground. Lake Haze keeps the electro narrative moving with “Modular Processed Data”, a melancholic broken-beat piece that balances softness and strength with timeless poise. Closing the side, 3KZ unveils “Step Into Light”, pushing the emotional range further through radiant melodic layers and harmonic clarity: high-impact, luminous, and built for those rare moments on a big system when everything clicks.

The journey ends with three shape-shifting cuts on the B Side that refuse to play it safe. Passarani 2099 (an alias of Marco Passarani) warps the frame with “Golden Valley”, channeling dubstep tempo, neuro-basslines, and haunting sequences into mutant rhythmic territory. Peryl’s “Res Affair” follows as a modular techno bomb—wobbling bass, broken patterns, alien textures, riding the edge between chaos and control with surgical intent. Finally, Nothus closes the compilation with “Tango”, an uncompromising finale of gritty rhythm work and experimental propulsion: the perfect full-stop to a decade mapped in sound.

Steve Stoll - Acida Evolucion - Sonic Groove
Two pillars of New York techno finally collide as Steve Stoll makes his debut on Sonic Groove.

Stepping out from a recent low-profile streak, the NYC veteran delivers a superacideferocious 6-track mini-LP. This is Stoll at his rawest: deep, hardware-heavy 303 minimalism designed to melt minds and dancefloors alike.

Pure analog 303 intensity.

Belgian label De:tuned once again dives into the innovative world of Luke Vibert, reviving his legendary Plug moniker with 'Variety Magic', the first new Plug album in nearly 15 years.

For this release, Vibert unearthed and hand-picked a collection of previously unreleased jungle and drum & bass gems, sourced straight from his original mid-90s DAT archive. The result is an 11-track ride through the raw energy and playful experimentation that made his early Plug work so distinctive, all infused with Vibert's unmistakable funk and mischievous flair.

Variety Magic is vibrant, bold, and delightfully off-kilter. A colourful homage to an iconic era, crafted for both deep listeners and the dancefloor. Stay tuned!

Visualised by the Variety Magi. Stencil Art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.

Jacksonville returns with Heavy & Gold, a powerful five-track EP rooted in the raw energy of underground house and analog machine funk. Produced by Chris Lyth, the record blends Chicago-influenced drum programming, hypnotic basslines and deep melodic textures into a set of highly functional DJ cuts built for the dancefloor. The EP moves between muscular jack tracks and deeper hypnotic moments, balancing driving groove architecture with subtle emotional tension. Heavy & Gold opens with the title track, a dense and rolling house cut driven by heavy drums and warm synth layers, before Just Another High delivers a tighter, more stripped-down groove with classic underground swing. Rapido pushes the energy further with a direct, rhythmic workout built for peak-time transitions. On the flip side, Parallel Love expands into a deeper and more atmospheric territory with evolving textures and hypnotic momentum, while closing track Miz & Ida delivers a long, hypnotic groove combining analog warmth and late-night dancefloor pressure. True to the Skylax philosophy, this release focuses on timeless groove design rather than trends, offering DJs and collectors a record built to last in the bag for years. Written and produced by Chris Lyth with executive production by Hardrock Striker and artwork by H5 (Simon Renaud), Heavy & Gold continues the Skylax tradition of uncompromising underground house music.

Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.

Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.

They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.

Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.

Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.

Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.

What they left behind were fragments.

Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.

Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.

Often, the trail simply disappeared.

What remained was intention.

Energy.
Urgency.
Hope pressed into sound.

So the collective worked on it.

They edited certain parts.
Extended others.
Cut what didn’t serve the floor.

Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.

The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.

Some circulated privately.
Others were never pressed at all.

Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.

This is not nostalgia.
This is unfinished business.

Transamericas reissues Atom™’s Kraftwerk-goes-chachachá classic

After 25 years out of print, El Baile Alemán — the cult album by Señor Coconut (one of Atom™’s many aliases) — returns on vinyl via Transamericas. What began as a half-joke (“The only way I’d cover Kraftwerk is as chachachá or death metal…”) became a fever-born epiphany: Kraftwerk’s electronic minimalism recast through a tropical imagination — where chachachá, mambo, and cumbia intertwine with glitch, breakbeats, and distressed samples.

Long before reggaeton and trap filled stadiums and playlists, Señor Coconut was already mapping the fault lines between Latin rhythm and electronic form.
Originally released in Japan in 2000, El Baile Alemán caught the ear of Kraftwerk’s Florian Schneider, who unexpectedly championed the project. This reissue has been cut from Atom™’s 2022 remasters, preserving the album’s detail for a new generation of listeners. In the second half of 2026,

Transamericas will also reissue El Gran Baile (1997), his first outing — a rawer but equally idiosyncratic fusion of what Atom™ was going to frame as electrolatino.

Following his appearance on the label's 'Enact' compilation, Oliver Rosemann returns this time with a complete statement.

Expanding the singular style that he introduced into a cohesive six track EP, 'Elsewhere' is stripped to its core, raw, intense and absolutely uncompromising.

To mark 25 years of Tsunami Records, Wunsch delivers a landmark release that celebrates the label's legacy while looking firmly toward the future.

For this special anniversary project, Wunsch brings together a powerful lineup of artists who embody the spirit and evolution of the sound: Black Forests (Arcanoid and Wunsch), The Rare Breed (Regis and Wunsch), Broken English Club, Giving Ground (Function and Wunsch), Microcorps, Rumenige, and Sabotak. Each contribution reflects a distinct voice, yet together they form a cohesive statement - raw, uncompromising, and deeply rooted in the underground.

This release is more than a milestone; it's a testament to 25 years of dedication, vision, and sonic exploration. From driving, industrial textures to immersive and atmospheric moments, the record captures the essence of Tsunami's identity across decades.

A celebration of past, present, and future - this is Tsunami at full force.

Daybreakers head to Chicago for this one, bringing back How Bad I Want Ya from Soul Element, aka Stacy Kidd, alongside Peven Everett. This record is a true representation of the city — Stacy’s deep approach to house music and Peven’s unmistakable voice up front. It carries that raw, direct energy that defines a lot of their best work.

How Bad I Want Ya has been around for a while now, one of those records that stayed in bags and never really disappeared. It’s a proper slice of deep house with a vocal that stays in your head.

The original keeps things direct and deep. No excess, just a track that does what it needs to do on the floor.

On the B side, Glenn Underground steps in with the Peak True Time Mix, stretching things out and adds some percussion and an infectious bassline. It’s a proper GU remix — longer and patient, while keeping that Chicago swing intact.

Two sides of the same city, done properly.

House that was always deep.

Buy or cry.

Signal Threat is the debut vinyl release of DRUUM aka James Orvis, an exhilarating and boisterous chest pumping collection of electro anthems. Raw and packed with energy, DRUUM’s productions are explosive and have serious bite. His sound is distorted and bold unfiltered, drawing inspiration from the infamous electro punk scene where he has carved out a name for himself. His impeccable use of rap vocals is unique and authentic its rhythmic and aggressive.

DRUUM’s bridging of various styles and use of heavy breakbeats are stunningly edgy. Each sound is carefully modulated and designed purposefully; it’s like a cage fight met a high stakes heist, buzzing with ruggedness. As some who have been following DRUUM are aware, he suffered two strokes in 2025. As DRUUM makes a strong recovery, Dionysian Mysteries felt obligated to get a posse of remixers to help raise money and awareness for this bad ass release. An absolute stellar group of producers are behind this release in support of DRUUM. Featuring remixes from the likes of Umwelt and Ben Pest.

LAAK returns with a limited new stamped vinyl release on Austere Recordings — deep textures, hypnotic rhythms, and raw underground energy pressed to wax for true collectors and selectors alike. Built for late-night systems and immersive listening, this release captures the unmistakable atmosphere and intensity that define both LAAK’s sound. Limited copies available — don’t sleep on this one.

DOGMA marks a new beginning for Coloray. As the name suggests, the project explores the endless search for meaning in a world that does not always offer one. Across 11 tracks, the artist reflects on queer romance, grief, youthful hope, and melancholic joy. Emotional, chaotic, and imperfect, DOGMA mirrors both the artist and the messy reality of a life unfolding. Rather than forcing rigid structures, the album embraces looseness and human presence. Live recordings and improvised songwriting take center stage- every lyric was written in the moment, and the tracks remain intentionally raw to preserve their imperfections.

In this way, the album is both personal and political. It calls for belief in keeping humanity alive and for dismantling the societal dogmas that push artists away from the core of their creative identity. DOGMA is an honest journey of self-authorship, unfolding through the sounds of new wave, disco-punk, electro, and ambient music.

RAWAX presents Basic Bastard aka Orlando Voorn!
Another great release from the dutch Legend, who teamed up on two tracks with Will B & Barksdale They delieverd here an beautiful hommage to Detroit. Worth to check!

Daïf presents Prezi, a new alias exploring a bold, uninhibited vision of electro house. Built for the dancefloor, the record unfolds like a transmission from another dimension. Inspired by the 2000s—echoed in its cover—it blends nostalgic energy with a colder, subtly dystopian edge.

The project arrives like a xenomorphic incursion, driven by raw, mechanical textures: sharp square synths, biting saw waves, and stripped, high-impact arrangements engineered for maximum club efficiency.

Seductive, disembodied vocals drift through the tracks, exploring themes of love beyond the human and shaping a vision of Post Human Desire.

In an engrossing lattice of polyrhythmic beat science and deep atmospheric meditation, Samurai Music is thrilled to welcome Marco Shuttle to the fold for the Sumud EP.

Since his early years locked into the 00s London techno scene, Marco Sartorelli has developed as an artist entirely on his own terms. Through the rush of new ideas and cross-pollination that has characterised cutting-edge techno over the past 20-odd years, Sartorelli has travelled as Marco Shuttle from one considered stylistic concept to the next. On his own Eerie label and across expansive releases for respected outposts such as Spazio Disponibile, Incensio and Astral Industries, he's taken an exploratory approach to rhythm and spatial design while always drawing on intentional thematic frameworks, creating distinctive and immersive dance music in the process.

As Samurai Music continues to celebrate the rich seams of inspiration where deep techno and drum & bass intersect, Sartorelli's malleable, mysterious strain of drum work fits right in and sets a captivating tone for the label's operations in 2026. 'Sumud' is a steely drum mantra dealing in fractured patterns with the primal patina of the early Artificial Intelligence era, while 'Las Dunas de Taroa' leans on gently pulsing melancholia undulating at a half-time pace. 'Iso 50' taps into raw, analogue minimalism once more, evoking the sound of Roman Flugel's Ro70 records in their icy, alien formation. Completing the set, we're guided towards the tense electronica of 'Polylayering What I've Got', where uneasy melodic chimes interlock with intricately programmed drum machines.

There's a distinct sense of golden-era, mid-90s electronica coursing through Sumud EP, but Sartorelli shrouds the classic tools at his disposal in his subtle signature atmospherics, pushing towards a plain of expression that transcends time.

Vakat releases for the first time on the Non Series. A four-track EP that distills his signature sound into a focused and powerful statement. Across four cuts, deep grooves, hypnotic rhythms, and finely sculpted textures unfold with precision, balancing raw dancefloor energy and atmospheric depth.

Balancing dub techno depth, Detroit spirit and peak-time functionality with class and precision. Parallel 41 Records returns with P41005, a powerful statement built for the darker edges of the dancefloor. On Sakura EP, Manuel Di Martino lays the foundation with two hypnotic originals and remixes that move between stripped-back pressure, dub-soaked depth and raw Detroit-inspired drive.

Berlin-based producer and DJ Benjamin Fröhlich returns to his own Pleasure Principle imprint with the long-awaited vinyl edition of The Muv It EP -
Rooted in dusty, dubby house music and inspired by the open spaces and raw energy of a recent desert trip, the EP channels warmth and groove in equal measure. The title track Muv It sits at the heart of the release - a driving, hypnotic floor-burner that showcases Fröhlich's instinctive feel for rhythm and texture.
Alongside it, Get Up raises the energy further, bringing a higher-octane dancefloor urgency to the EP's middle section. Its dub counterpart Get Dub then strips things back - a spacious, reverb-drenched variation that lets the groove breathe and reveals the track's deeper, more meditative side.

The vinyl edition comes with an exclusive bonus track: Gruv It - a stripped-down, atmospheric rework of Muv It that trades hands up moments against a hypnotic rolling vibe.

Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.

Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.

The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.

Staffan Lindberg’s Revéillon EP links Rio baile funk, São Paulo club mutations and Stockholm electronic craft. Made with Brazilian MCs Maromba and G7, it grew from Instagram DMs, nights at Pedra do Sal, Copacabana on New Year’s Eve and a shared taste for whisky, Red Bull and pick-and-mix.
Raw, playful and transportive, the EP landed digitally on April 3rd, with vinyl to follow in June on Studio Barnhus.

Bristol-born, London-based DJ, producer, trailblazer and label head, Conducta announces his brand new EP, SOUNDBOY JOHNNY slated to drop on the 29th May via Up Ya Archives Records.

The new single sees Conducta link up with one of Jamaica’s most original and exciting artists, for a high-tempo cut that channels UK breakbeats into a bassy club roller. Built around an irresistible hook that sticks, ‘Low Can U Go’ sets the tone for the wider project, with BLVK H3RO’s vocal collaboration bringing a fresh edge to accompany the raw, driving intensity Conducta is known for.

The EP, SOUNDBOY JOHNNY sees Conducta lean further into the sounds shaping his recent DJ sets, channelling his long-standing love of jungle and breakbeat into a focused body of work. Across the project, he experiments with faster tempos and chopped breaks, stepping into new territory as a producer. As his first solo release of the year, it marks a confident return with a clear sense of direction, underlining his versatility across different sonic spaces.

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

FPTAM01 marks the 10th vinyl output on Futurepast and introduces a new subseries initiated by T.A.M.22.
Conceived as a time-based operation, the project moves between memory and projection, reactivating past structures in a forward, anticipatory mode. The tracklist is inscribed as time codes, each one indexing a separate temporal trajectory.
The core of the project relies on a reduced setup: Jomox Alphabase, a single synthesizer per track, and a one-take recording approach, capturing a specific moment in time. Post-editing is kept minimal to preserve its raw, live character.
Across the EP, transformation unfolds through shifts in perception, dissolving any stable sense of reality. Temporal drift replaces fixed structure. The sonic language focuses on raw drum architecture, low-end pressure, and submerged textures.

TRANSMISSIONS #1 connects four distinct Skylax signals into a single flow. Each track comes from a precise moment, a specific context, and a clear dancefloor function. Together, they form a transmission built on movement, use and continuity. A1. F.T.G – Tribute ’89 (Fuckthegovernment #001 Mix) is a raw drum-machine workout positioned between dark Chicago house and late-’89 European techno. Stripped, direct and uncompromising, Tribute ’89 quickly became an underground staple, heavily played by Ricardo Villalobos and Raresh — a foundational Skylax signal. A2. Nick Beringer – 57th Corner, taken from Second Floor (Wax Classic, 2016), is a tech-leaning deep house cut marked by restraint, precision and late-night tension, capturing Beringer at a pivotal point in his long-standing relationship with Skylax. B1. Floorfillers – Love Is Growing delivers a powerful house-disco statement rooted in old-school foundations, where filtered disco loops, raw drum programming and uplifting swing echo the lineage of DJ Sneak, Paul Johnson, early Roulé / Crydamoure-era French touch and classic Chicago jack — a modern floor-driver with timeless intent. B2. Nicolas Aftalion – Rue des Wallons brings deep, soulful house with a strong Kerri Chandler influence; warm chords, chunky drums and emotional weight firmly grounded in early ’90s US garage tradition. Supported by Cinthie, it closes the transmission with groove, balance and purpose. TRANSMISSIONS #1 — built to move, built to last, signals in motion. Four tracks. Four signals. Still moving.

“Nimm die rosa Brille … sag was Du siehst … alles viel besser”

44 years after its original release, one of the most idiosyncratic DIY minimal electronics / synth / new wave records of the early ’80s returns: the legendary 7” by German group DEUTSCHE SCHÄFERHUNDE (engl. German shepherds)—now remastered and reissued for the first time as a one-sided 12” on Anna Logue Records. Recorded in the winter of 1981/82 between rehearsal space, provincial disco and bar nights, and a humble four-track setup, these tracks capture the raw spirit of a generation that simply started creating—no formal training, but plenty of attitude. Minimalist, uncompromising, and inspired by krautrock, punk, new wave, electronic music and dub, the songs move between raw electronics, percussive noise, new wave experimentation, and sharp social commentary. „Rosa Brille“ (rose coloured glasses) in particular feels as urgent today as it did back then—a track that has lost none of its relevance, „Gasmasken“ tells of gas masks dancing in the woods to the sound of sirens, and a timeless Holger Czukay/Jah Wobble inspired „Mein Herz“ (my heart).

Originally pressed in a small run of just 500 copies and later becoming a sought-after collector’s item now worth 200€, the record now returns in a carefully crafted edition featuring a laser-printed reverse side and additional materials such as original lyric sheets and articles, postcard and poster. DEUTSCHE SCHÄFERHUNDE thrived on paradox—a provocative name paired with a clear stance, and lyrics that still resonate today. Shaped by Cold War tension, political unease, and youthful rebellion, their sound refused to fit into any neat category. Only few other bands, such as Der Musikant, Im Namen des Volkes, Thorax Wach, Klinisch Sauber oder Stephan Eicher spielt Noise Boys come to mind.

This release is more than a reissue—it’s a document of its time that still hits with full force.

12″ features: limited to 400 copies, hand-numbered, one-sided 180g black vinyl, laser-etched B-side, outer sleeve printed on reverse side of the board, printed inner sleeve with original lyrics sheets and original articles, DIN A3 poster, double-sided postcard

Vaalbara EP - Franco Rossi Sine Space 7 - Release date: 19 June 2026 - Vinyl

Franco Rossi makes his Sine Space 7 debut with Vaalbara, a five-track vinyl EP (including one vinyl-exclusive cut) that lands the Argentine producer firmly in the label's hypnotic and driving orbit. Following recent releases on Soma Records, MindTrip, and Secession, Rossi arrives with a record that feels both unmistakably his and right at home in the Sine Space 7 catalogue. His productions have already found support from the likes of DVS1, Richie Hawtin, and Setaoc Mass.

Opener Rodinia sets out raw and patient, with two rising builds carried by strange synthetic patterns over a darkening drone. Title track Vaalbara drifts on a modulating high synth line, locked into a hypnotic lower-frequency pattern that pulls the two registers into quiet synergy. Paramo keeps the floating quality but leans darker, with raw drums anchored by finely distorted rides and a backbone of dense texture. A Quemarropa pushes further into ear-candy territory. Distorted rides again, punctuated by one strange, track-cracking sound that refuses to let the listener settle.

The vinyl-exclusive closer Mar Adentro is the weight-bearer, a rolling low-end drive punctuated by a sub-heavy synthetic hit you feel in the chest.

Mastered by Robin Van Genechten at Wanton Mastering. Artwork by Norwegian macro photographer Petter Lilleengen.

The new 12" release, "Call and Response", by the enigmatic artist MD, is a masterclass in the resurgence of retro techno, bridging the gap between the raw industrialism of early 90s Detroit and a modern, high-fidelity punch. The A-side is defined by its massive, anthemic vibes, built around a thundering TR-909 kick and a soaring, crystalline synth lead that feels both nostalgic and startlingly fresh. What truly sets this record apart, however, is its intricate counterpoint structure; rather than relying on simple loops, MD weaves multiple independent melodic lines together in a rhythmic dance of tension and release. The "call" begins as a jagged, percussive stab that is immediately answered by a "response" of lush, interlocking minor-key arpeggios, creating a sense of constant movement and architectural depth. It’s a track that demands attention on a massive sound system, proving that the classic techno blueprint can still be expanded into something grand and deeply intellectual.

Limited to 250 copies

You can't put Bebe Rexha in a box. From her Grammy-winning songwriting roots on Eminem's "The Monster" to global chart-toppers with David Guetta and Florida Georgia Line, Rexha has established herself as a premier musical chameleon. With her latest project, Dirty Blonde, she officially enters a new era as an independent powerhouse. Now signed to EMPIRE, the Brooklyn-born star has crafted a 13-song "genre kaleidoscope" that serves as her first-ever visual album, representing a total creative rebirth and a departure from the major-label system she's known since she was a teenager.

Recorded across London, Tokyo, and Europe, Dirty Blonde captures the energy of Rexha's global travels. The project seamlessly blends heavy-hitting dance floor anthems with deep, personal storytelling. With the lead single "New Religion" she takes us straight to the club by reimagining the iconic dance record "Insomnia" by Faithless. On "Tokyo," she explores a drum & bass pulse inspired by a late-night rendezvous in Japan, while "Cike Cike" (produced by long-time collaborator DJ Snake) sees Rexha embracing her Albanian heritage by mixing traditional linguistic roots with modern 808 basslines.

At the emotional core of the album is the lead single, "I Like You Better Than Me." The track strips away the pop-star veneer to tackle themes of insecurity and self-scrutiny, blending raw lyrics with a pop-rock edge. From the Jersey-bounce-meets-country vibes of "Drink and a Little Love" to her vulnerable reflections on fame, Dirty Blonde is a celebration of an artist who is finally playing by her own rules. As Rexha firmly asserts, "The old Bebe is dead," leaving behind a focused, stronger creator who is making the music she truly loves.

This new volume of Casquiat diesel into the streets of LA and mixes up the raw realities of life and plenty of lyrical and production innovation across mutant rap, hip-hop, breakbeat and dub sounds. 'Mexican Illegals' is a big opener with distorted bass blasts and ice-cold analogue beats with a stylish delivery up top that twists and turns between the drums. 'Fuck Ice (bonus beat)' is menacing and full of swagger with saw tooth synths and infectious syncopation, then 'Pistol Grip Pump' (Casquiat remix) is an early rap sound made freaky with sci-fi production touches and larger than life bars.

(*Previously unreleased)

Two lost cuts from the orbit of Tony Humphries surface at last, pulled straight from acetates in his private archive and pressed here for the first time. Unearthed like messages from the booth itself, they capture that raw, transitional moment when club music was still inventing its own language night after night.
On the A-side, Kerri Chandler with “Kerri Kaoz Beats”, a stripped, swinging tool full of basement pressure and early-morning intent. No excess, no compromise, just Kerri doing what Kerri does best. Flip it over for Dee Dee Brave – “My My Lover (Tony Humphries Dub)”, a previously unheard Humphries reconstruction that stretches the vocal into something deeper, moodier and unmistakably floor-ready. Spacious, patient, and quietly euphoric.
Two pieces of house history that never made it past the acetate stage until now. Not revisions, not edits, but originals finally stepping into the light. Essential documents from the roots that still point forward.