Moonshine Recordings is thrilled to welcome Tokyo-based producer Flatplat to the family for his captivating debut release: Mystery Of The Belly Button EP.
Deep-diving into the realms of hypnotic dub techno and stripped-back minimal dub, this four-track record delivers smoky delay chains, pulsing sub-bass, and meticulous sound design.
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DJ Support: Claptone, Adam Beyer, Joris Voorn, Kaskade, Martin Solveig, Bob Sinclar, Deeper Purpose, Malaa, CID, Valentino Khan, Claptone, Malaa, Danny Howard, Fatboy Slim, Bob Sinclar, James Hype, Tita Lau, Format:B, Fedde Le Grand, Mark Knight & more.
Toolroom Trax’s next Sampler showcases 4 big releases from Shiba San, CID, Nausica, ALL U NEED, Twolate, NIINE, Dario Nunez, Alex Now (ES), Gloria IT & Danny Rhys.
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Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.
On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.
The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.
Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.
NOREPRESS is a division of MixCult Records. Limited Edition.
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Dario Rossi approaches electronic music like few others. His work as a percussionist has brought his unique rhythmic abilities to audiences around the globe. Born in Italy, Rossi combined percussion with samplers and synthesizers. His energy and talent have allowed these machines to be incorporated into his distinctive palette with very special results. 07Sep83 is his Bordello debut, with the title piece opening the four tracker. Beats cascade as analogue warmth laps the shore. Slow with a magnetic groove, elements of italo, wave and synth-pop intertwine to create a clean, bright sound that is at once familiar and totally unique.
Vocals arrive with “We’ll Meet Again.” Tempos rise while keys are emboldened by rich guitar strings. Lyrics counter with a melancholic tone that shifts into hope and fortified belief as melodies rise ever higher. The flip is “Lost.” Sharp drum patterns support notes that hark back to the majesty of Bobby O, the live sax by Augusto Pallocca and disco glory combining in this journey through genres. “Beat the Devil” closes. Sizzling from the outset, snares roll and snap. Rossi’s percussive prowess is on full display as synthlines flow over rhythmic ripples to the subtle and soulful strings that bring down the curtain.
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Quinoa’s 8th reference goes off the beaten track, literally. Carola (f.k.a. Mägitee), comes at us with four stripped-back cuts that invite us into unexplored emotional realms. Consistent, throbbing, and rich in texture, it contains just enough of everything and not too much of anything.
The story starts on the A side with “Siouxsie”’s melee of drums and swells that instantly transport us to the smokey comfort of a dance floor, lost in the ecstasy of intertwining bodies.
It follows with “0863”, with a name that winks at his roots hailing from the Appenine mountain chain in central Italy. Its warm, intimate touch sets a suspended tone to the release.
On the flip side the energy shifts, with escapism-anthem “Getaway” whose strings and dreary vocals invoke a nostalgia of futures-to-be in places that may never exist.
Finally, the EP closes off with the title track “The Observatory”. Named after the Griffith Park Observatory, a place where he regularly used to wander at night in the company of deer, coyotes, and the Los Angeles lights. Its deep bassline and intense echoes aim to captivate the most avid stargazers.
We hope this music will touch you as much as it touched us.
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FANZINE RECORDS Nullptr - Tides & Gravities Nullptr returns to Fanzine Records with “Tides & Gravities”, a new chapter in the ongoing relationship between the artist and the label following several previous collaborations Release June 19, 2026 Artwork by Burgalego Masters by Human Mastering Studio
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Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.
Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.
There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.
After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.
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Introducing Sum Of Its Parts: A new collaborative music project led by Alex Nut. Featuring remixes by Boddhi Satva.
London, UK — A new musical project titled Sum Of Its Parts brings together a dynamic collective of musicians under the direction of DJ, curator and Eglo Records mainstay Alex Nut, who steps into a central creative role as the project’s musical director and producer.
Sum Of Its Parts is built on a fluid, collaborative model, featuring a rotating cast of musicians drawn from some of the UK’s most exciting contemporary music circles. Including Sam Crowe (Lianne La Havas) on Keys, Junior Ali-Balogun (Sault/Cleo Sol) on percussion and Duane Atherley (Kokoroko) on Bass.
Debut EP, The Message, introduces the project’s expansive sonic identity across two original compositions. The title track, The Message, is a 10-minute spiritual jazz odyssey—deep, meditative and expressive. In contrast, Hello High – which previously appeared on the Eglo Records Vol. 3 compilation – delivers a soulful, jazz-inflected house energy with dancefloor sensibility. Extending the release further, the B-side features two amazing remixes by revered House producer Boddhi Satva, who reinterprets the project’s sound through his unique Ancestral Soul lens.
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2026 Repress
We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.
All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville
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Packed with live classics and brimming with his frenetic brand of mutated, electronic, anti-pop, this album marks the next step in Anklepants' march to world domination.
Anklepants' act gets a reaction from everyone that witness it. The hysteria surrounding him has gained momentum since the release of his 12' vinyl 'SPEEK You Little Re-facéé' on Love Love in 2013, propelled by a European tour last year with Otto Von Schirach and his sensational Boiler Room set. The 'SPEEK You Little Re-facéé' vinyl single served as a taster of what was to come with its 2 bombastic extended cuts (both also featuring here). Now, having sown the seeds of his message around the world, his debut album has arrived on Vinyl and CD.
The CD version of this album comes with a second disc containing reworkings of Anklepants' original tracks by other artists similarly carving their own paths through the modern übergründé, including Eomac, Valance Drakes, Kraig Grady, Lenkemz, Monster X, Bintus, FUKNO + more.
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Celebrating a decade since its live debut, Detroit-based artist Rebecca Goldberg announces the first-ever vinyl release of her original score for A Trip to the Moon, the iconic 1902 silent film by Georges Méliès. Composed in 2016, Goldberg’s reimagining of the groundbreaking film—originally titled Le Voyage dans la Lune—translates early cinema fantasy into a minimalist electronic soundscape shaped by synthesis, texture, and composed foley.
Goldberg’s approach honors the wonder and theatricality of Méliès’ vision while grounding it in Detroit’s lineage of forward-thinking electronic music. The score premiered in Paris in 2016 with live performances at Silencio, the club founded by David Lynch, and at Bar à Bulles, located above the legendary Moulin Rouge. The Paris events were produced by Why So Serious Productions and marked a rare convergence of experimental electronic performance and historic cinematic space. Goldberg also presented the live score in her native Detroit, reinforcing the transatlantic bridge that has long shaped her conceptual record projects.
Now, ten years later, the score will be released for the first time on vinyl in a limited edition of 300 copies. The pressing captures the nuance of the original live compositions while offering listeners a new way to experience the interplay between silence, rhythm, and sonic illusion. As with Goldberg’s previous conceptual 12" releases, the vinyl format serves not only as a medium but as an artifact that preserves and reframes cultural memory.
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HMC returns with 3 killer tracks for Reflector 03!
Acid Trac #1 & #3 were originally released in 1996 on the Dirty Acid Tracks label these go for big money on Discogs (if you can find a copy) a no-mercy acid assault built for peak-hour damage.
As an added bonus we have Cum On which was the flip side of Phreakin’ released in 1995.
Limited pressing act fast!
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Following up on the hidden wonder of Ellis Swan's twilight folk-noir masterpiece 3 AM (Quindi Records, 2022), Altrimenti commissions three bold remixes by Madteo, Simone and Mass Prod, with a wayward slant to rival Swan's own outsider status.
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Few songs from the late 90s managed to sound simultaneously utopian and paranoid quite like Jamiroquai's 'Virtual Insanity', a track that wrapped ecological anxiety and technological dread inside an absurdly slick jazz-funk strut. Thirty years on, it remains remarkably strange for a global pop hit. Jay Kay glides across bouncing basslines and gleaming Rhodes arrangements with irritating charisma, while the groove itself never stops twitching and mutating beneath him. 'Do You Know Where You're Coming From' goes further into sophisticated acid jazz territory through restless percussion and rich harmonic movement, then 'Bullet' adds a tougher funk bite. Some records become trapped by nostalgia, but this one still sounds futuristic.
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Winding Road Records are proud to present the “Last Disco on Earth EP” from the ever-elusive group of “Mar De Novo” which is M & N, Paraiso and Yse Saint Laur’ant. First up on this EP is the title track ‘Last Disco on Earth’ is a monster slab of modern disco. Fat grooves, cheeky melodies and cool glitchy production. Uplifting, positive and energetic - guaranteed to put a smile on the dancefloor. Next up is ‘Over There’ is a twisted slice of bass-heavy undulating house, punctuated by crazy interludes and samples that fly in from nowhere. Starting things off on the B side is ‘Uncanny Valley’ is a sun-kissed downtempo groover, with dreamy strings and wonderful chilled musicality. Following on from that is ‘Reflection’ exudes space, peace, and calm. Guitars and piano intertwine alongside haunting vocals. Soundtrack bliss. Summer vibes. Finally rounding off the EP is ‘Find Love’ rounds off the package with a dreamy balearic sunset vibe.
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Highly collectable and sort after reissue from Discrete Records currently getting plays from Paula Tape, Make A Dance and Sean OD. Early Progressive House from 1992. Special Yellow vinyl edition.
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"Zuhause sterben" by Endstation Altes Krematorium is quite possibly Lux Rec darkest release ever and as such, a perfect closure. This absolute, idle, desperate record will suffocate you, haunt you, certainly annoy you, and all of which is precisely intended. Daniele Cosmo and Florin Buchel gazed long into the abyss, so the abyss gazed back. This recording is what was found down there.
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Errortica takes the scene by storm with here new mini-album — 'I'm Good'. The four-tracker includes previously dropped singles 'Copy Me' and 'Psycho' (feat. Reptiloid), as well as two fresh tracks feat. nashnocap and Blessna. Highlighting her serious studio skills, Errortica mixes different genres: dirty rave vibes with distorted basslines, hardcore hoovers, mixing breakbeat drums and gabber-inspired kick, with a contemporary vocal mix attitude that’s raw, tough, and sexy. In a chase of a perfect dancefloor hit, Errortica continues to drive her dancefloors into a wild, electrified zone for some unforgettable experience. In a chase of a perfect dancefloor hit, Errortica continues to drive her dancefloors into a wild, electrified zone for some unforgettable experience.
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Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.
It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.
But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.
Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.
This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.
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Release #50 celebrates the digging, care & musical curiosity that’s made the GSC series essential for DJs, collectors & break seekers alike.
For years GSC has built a catalog that earns immediate “cop-on-sight” status. Thoughtful edits. Deep respect for the OG recordings. Breaks that knock w/out feeling heavy-handed. The kind of taste that reminds you these are real heads behind the decks.
Side A pulls from Jerry Butler’s “I’m Your Mechanical Man,” released in ’74 on the Sweet Sixteen LP. The track contains a raw drum break hip-hop producers recognized instantly. Most famously it powers Method Man’s “Bring The Pain,” 1 of the defining solo joints from the Wu-Tang Clan era. The break later resurfaced in Missy Elliott & Method Man’s 2002 version & Snoop Dogg’s “I Miss That Bitch.”
On the flip, GSC draws the source into pure DJ tooling: a sample break edit, a full drum break edit & the “Mechanical Wu” mix — built for selectors who know the power of letting a break breathe.
Then they deliver a beautiful surprise. Instead of leaving empty wax, GSC slides in Les McCann’s “Vallarta,” from the 1977 album Music Lets Me Be. Jazz-funk heads know it instantly — the hypnotic groove behind Biggie’s “Ten Crack Commandments.”
This is why Galaxy Sound Co. matters. They’re not just pressing edits — they’re curating moments. Unearthing grooves DJs need back in rotation. Some originals now cost serious money on Discogs. Others simply faded from memory. GSC dusts them off & hands them back to the community.
50 releases in & the curiosity still runs deep.
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Revered selector Moodymann remixes ‘Take Me As I Am’ by Detroit artists Dames Brown, from their 2026 Defected LP of the same name. First distributed as a super-exclusive dubplate at Amsterdam Dance Event in late 2025, this avant-garde remix showcases a master at work, transforming the soulful feel of ‘Take Me As I Am’ into a provocative, groove-laden sonic experience for heads in the know.
Kicking off 2026 with a bang, Dames Brown’s hotly anticipated full-length LP ‘Take Me As I Am’, presented by Amp Fiddler, paid homage to the late Detroit pioneer while re-introducing the vocal-house trio to the world. Across 14 tracks, the Dames weaved together their disco, R&B and house influences and collaborated with Eddie Fowlkes, Andrés, Waajeed and Amp Fiddler himself.
The critically acclaimed LP was recognised by DJ Mag, Mixmag and Billboard, with the latter noting the project is “dripping with all the soul, style, funk and feeling that you might expect from the powerhouse Detroit trio.” Title track ‘Take Me As I Am’ represented the album’s elevated house sound in full, and now this fresh re-arrangement by fellow Detroiter Moodymann has arrived.
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madness" she whispered as she tried to navigate through an onslaught of people.
She carried a feeling of numbness within her that helped her manage the constant distortion and the all to obvious hypocrisy surrounding her. Mindless wandering after having just survived another day in the trenches was a welcomed exercise in fact she had already begun to dissociate from the commonly perceived reality; entering the one of her choosing. If one was to observe her, a sway to the hips could be noticed furthermore, as if momentarily height on a good thought the woman now strutted around attracting all sorts of attention, from negative to overtly admiring.
All the cages in her mind were artfully crafted with beautiful bars made of gold and the ceilings had their own stars and suns that shone upon them. None of them were locked
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Harry Romero, Brothers Macklovitch, and Austin Ato team up on Rekids.
Harry Romero and Austin Ato return to Rekids alongside the debuting Brothers Macklovitch, aka A-Trak and Dave 1, with the ‘The Corner’ EP, arriving 5th June 2026. Romero has more than two decades of house pedigree behind him, continuing to refi ne a signature sound rooted in expert drum work and undeniable attitude. With a catalogue spanning seminal imprints from Nu Groove to Classic Recordings and Defected, the Bambossa Records boss builds on his 2025 debut with ‘Nice To Meet You’, once again showcasing his knack for balancing functional, floor-ready grooves with rich musical character.
Joining Harry Romero are Brothers Maklovitch, consisting of legendary turntablist A-Trak alongside his brother, David “Dave 1” Maklovitch of Chromeo, bringing decades of experience across the electronic spectrum, alongside versatile Scottish producer Austin Ato, who previously contributed to Oliver Dollar’s 2025 album on Radio Slave’s Rekids imprint.
Harry Romero, Brothers Macklovitch, and Austin Ato’s ‘The Corner’ (Piano Mix) opens the release, a warm and energetic house cut driven by bold, bouncy drums and jazzy melodic touches, as lively guitar licks and rolling piano lines inject an uplifting, expressive feel primed for the dancefloor. The ‘Deep In Jersey Dub’ follows, maintaining the heat with a more stripped-back approach, where filters and breakdowns build tension before a punchy drop, with teased-out guitars adding to its dynamic impact.
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In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).
Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.
Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.
More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.
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Take Me, I’m Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter’s faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I’m Yours is neither a typical Abrahams record nor a classic Jelinek album—it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design.
The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. “It started as an experiment, and over the past few years grew from a few tracks into this album,” says Abrahams. He describes recording the basic material as a “tantalizing” process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams’ voice.
Jelinek heard something “fragile” in this voice, “moments of doubt and dark premonitions.” He points to Forever as an example. “Alan’s original song reminded me of classic vocal house, but his voice seemed to almost break,” he says. “This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening.” He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams’ pieces, Take Me, I’m Yours functions as a dialogue between those two singular artists.
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POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.
Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.
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New album by FLOCKS, the duo of drone specialist WERNER DURAND and percussionist ULI HOHMANN. Musical landscapes that move between traditional as well as experimental sounds with influences from Krautrock and JON HASSELL's "fourth world" aesthetics.
WERNER DURAND has made himself a name with various projects with Dhrupad singer AMELIA CHRISTIANSEN, DAVID CHRISTER HENNIX, as the co-founder of THE 13th TRIBE, ARMCHAIR TRAVELLER and TONALIENS (with ROBIN HAYWARD and HILARY JEFFERY) plus numerous solo albums, released on labels like Black Truffle, Unseen Worlds or Edition Telemark. Having studied saxophone as well as Indian / Persian flutes, the Berlin based DURAND is a highly reputated protagonist in the drone scene, famous for his self-built wind instruments like buzz-clarinets or his PVC neys & horns.
His partner in FLOCKS (and longtime personal friend) is ULI HOHMANN whose early encounters with music from Asia, India and Africa led to studies with the Ghanaian master drummer MUSTAPHA TETTEY ADDY and later Tombak and Daf with NEMAD DARMAN (Iran). HOHMANN played in a couple of projects that explored the language of classical Persian music, and started building his own stringed instruments (being an educated carpenter). In 2014 he joined DURAND and AMELIA CUNI for the album "Clearing", and 2018 DURAND and HOHMANN decided to con- tinue as a duo: FLOCKS was born.
On “Lagoon”, the duo further explores the aesthetics it has crafted on its selftitled debut (2023, on the now defunct ZEHRA imprint): DURAND and HOHMANN shape drone-y soundscapes based on their self-built wind- & stringed instruments, Persian percussion and subtle electronics, drawing ad- ditional inspiration from Krautrock (listen to the irresistible, hypnotique, ever-changing rhythmic pattern of the title track) as well as JON
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San Francisco artist Ross Hogg has been grafting away on his grooves for many years. He has plenty of styles in his arsenal and here digs into some sun-baked reggae and lovers' rock. Up first, he reworks 'Rose Inna Di Dark', the title cut from the debut album by British soul singer Cleo Sol. Her angelic vocal rides a clean reggae rhythm with sleek melodies reflecting rays outwards. On the flip is 'Come Around & Kick It', a deep cut groove with an r&b vocal and classic reggae guitar riffs. It's a steamy combination that's designated to get plenty of backyard parties and beefy sound systems ablaze as we head into the warmer months.
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American DJ Homicide aka Craig Anthony Bullock is best known as the former DJ for Sugar Ray but also does a fine line in club-ready hip-hop jams and remixes. 'Likwit Swordz' kicks off his latest on the small but well-formed CA label out of the USA. It's got nimble drums that have a clipped bounce and vamping chords, vocal grit that echoes Cypress Hill and an infectious roll. On the flip, 'Day Coastin'' is more deep and smooth - the bars as silky as BIG and the drums rolling with crisp boom-bap style. Both have been made on an MPC and that sampler's famous textures elevate the final jams no end.
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No filler, no detours, just floor-focused disco from Berlin's Delfonic, who is always on point. 'Welcome Black' wastes no time snapping into action with driving drums, elastic bass and bright string stabs that demand full body movement. 'Dancing Facts' keeps it lean and punch with vocals and tight percussion, doing exactly what's required. Flip it over and 'Got To Know Your Body' rolls out classic disco funk, warm chords and a flash of soulful heat cutting through the groove. 'FM4 Me' goes deeper, chugging rhythm and filtered synth lines primed for locked-in, late-night sessions. Functional, effective and quality as ever from Delfonic.
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"I don’t understand Bernardino. He seems to take pleasure in sabotaging himself."
"Or maybe I’m simply refusing to play the game someone else wrote for me?"
Memoirs of Self-Sabotage unfolds as a musical drift: fragments written and recorded on tour between France and Italy, shaped by precariousness, administrative tension, loss, and paranoia. The tracks emerge like scenes from a psychological film noir—a distorted discotheque of monologues, songs, skits, and anachronisms—where the voice oscillates between seduction and rupture.At its core lies a troubling insight: the most insidious exploitation is that of one’s own intimacy. As emotions and desires become commodities, the project resists absorption. Each track becomes a site of desertion—refusing roles, codes, and systems of control, even those posing as critique. Alliances blur, betrayals loom; lucidity tips into paranoia.Warped echoes of nostalgia, cinematic layers, voices in tension: the music becomes an unstable space, a laboratory of drift and survival. Neither record, manifesto, nor autobiography, it unfolds as a mental disco where desire, fear, and self-sabotage coexist.
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Detroit producer Sheefy McFly delivers his first release outside the US, featuring vocals from DJ Mo’Betta, Bevlove, Lola Damone, Tiptonaires and Etherpussy.
Aside from producing, Sheefy runs the Ghettotechtopia party series in Detroit, has previously worked with Amp Fiddler for a release on Moodymann's Mahogani Records and has remixed and released for AUX88.
As a visual artist, he creates colourful murals all over Detroit, inspired by the Motor City's musical history like the "Detroit Never Left" mural featured on the sleeve.
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