DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.
Continuing with the next installment Len Faki's Hardspace series, he breathes new life into four distinct tracks, re-imagining them through the signature Hardspace lens: heavy, thumping, and relentlessly propulsive. Spanning decades of sound, these reworks bridge the gap between nostalgic grit and future-facing intensity, proving once again that a strong is often the most effective tool in the bag.
DJ Sneak's 2009 cut Acido sits perfectly between acid-house and techno-leaning aesthetics-a natural fit for a Hardspace edit that amplifies its jacking, loopy groove. Staying closer to techno's roots is Like A Tim's warehouse classic Rashness; here, Faki channels the raw, frantic energy of the original, proving how nuanced changes can generate a completely different, captivating energy as he reshapes the track's dynamic impact and tightens the low-end.
The B-side takes two contemporary cuts further into the red: the Snuff Crew edit ramps up the intensity, stripping back Where's The Bad? to a singular, hypnotic loop for peak-time impact. Finally, Umfang's Complete Your Collection undergoes quite the transformation, adding layered, rhythmic complexity and shifting bass weight to create a trippy but floor-focused drive.
Amsterdam-based Moody Mehran captures the atmosphere of a soft Mediterranean sunset perfectly. Just in time for late summer, the Dutch-Iranian artist debuts on SEVEN with four trance-infused, uplifting cuts, alongside a remix by Maruwa. The EP channels a distinct Balearic-leaning, '90s trance sensibility. Melodic, sun-drenched and emotionally direct. Built for open-air floors and festival moments, these tracks are driven by shimmering synth sequences, rolling basslines, crisp percussion and psychedelic sound design. It’s a sound reminiscent of trance’s golden era reduced to its essence: simple, euphoric, and highly effective.
Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.
The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.
The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.
When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.
Packaging: 1 X Black 140 grs vinyl, gatefold sleeve reversed board, black dust inner sleeve, marketing sticker, marketing sticker
- Alewya's acclaimed debut album Zero - digitally released June 2026, establishing her as one of the UK's most distinctive voices in alternative music
- Ethiopian-Egyptian heritage meets London's underground, blending electronic, R&B, percussive and experimental influences into a distinctive sound and visual world.
- A deeply artist-led record, developed over three years and built around themes of identity, instinct, freedom and self-discovery.
- Physical release November 27th :
Packaging: 1 X Black 140 grs vinyl, gatefold sleeve reversed board, black dust inner sleeve, marketing sticker, marketing sticker
- Alewya's acclaimed debut album Zero - digitally released June 2026, establishing her as one of the UK's most distinctive voices in alternative music
- Ethiopian-Egyptian heritage meets London's underground, blending electronic, R&B, percussive and experimental influences into a distinctive sound and visual world.
- A deeply artist-led record, developed over three years and built around themes of identity, instinct, freedom and self-discovery.
- Physical release November 27th :
Lilac Vinyl LP. "Rabbit Trap (Original Motion Picture Score)" stammt von der kolumbianischen Komponistin und Klangkünstlerin Lucrecia Dalt. Der Soundtrack verbindet experimentelle Elektronik, Ambient, moderne Filmmusik und atmosphärische Klangkunst zu einer eindringlichen Begleitung des Films, in dem Kreativität, Natur und übernatürliche Kräfte aufeinandertreffen. Dalt, bekannt für ihre innovativen Soloalben und Filmmusiken, erschafft eine dichte, cineastische Klangwelt zwischen Schönheit und Unbehagen. Unterstützt wird der Score unter anderem von Hauptdarstellerin Rosy McEwen, die auf einem der Stücke als Sängerin zu hören ist. Das Ergebnis ist ein faszinierender, experimenteller Soundtrack, der die mystische Stimmung des Films eindrucksvoll einfängt. Für Fans von: Jóhann Jóhannsson, Kaitlyn Aurelia Smith, Cosey Fanni Tutti, Delia Derbyshire, DJ Python. // "A cinematic audio masterwork" // "The cosmic intensity of composer Lucrecia Dalt's score immerses the audience in Daphne's chaotic creative process." - //
Liz Harris has worked with film closely since she began making and performing music live - both her own work, and that of various filmmakers - including a near decade long collaboration with Paul Clipson, and multiple live collaborations with Dicky Bahto and Takashi Makino.
On Music For Two Films About Water she presents two recent scores for short films by the artists Tanja Engelberts and Takashi Makino. Each film, as the album title suggests, is an exploration of water, though beyond that, each work and soundtrack varies - blending literal, improvisatory and impressionistic translations of the theme. Her accompaniment layers mercurial threads of mellotron, tape loops, Wurlitzer and field recordings.
Untitled (from We Exhale)
This piece was originally composed for the film We Exhale. In the film, artist Tanja Engelberts takes the perspective of the river itself, tracing how centuries of damming, channelling, and industrial pollution have reduced the Rhône from a living landscape to a hydraulic object—its breath slowly distorting as chemical processes break down what remains. Her work asks what a poisoned river sounds like when it exhales, confronting us with damage that operates beyond human timescales, already embedded in the river’s body. In her artistic practice, Engelberts investigates how landscapes that are no longer visible can be documented. Rather than excavating the past, she collects and rearranges what she finds on the surface—as a creative exposition of the present. Engelberts’ work places attention on the ‘here’ and ‘now’, allowing traces of the past to be recognized while possible futures can be imagined.
Untitled (from Constellation)
This soundtrack scores the film iteration of a project by Takashi Makino titled Constellation, a collection of works exploring how new meanings emerge through the arrangement of existing images, memories, and fragments. In the film, images, appearing and disappearing within mercurial water textures, are clearly present before the viewer, yet maintain their abstractness and imaginative nature until the very end—projected onto the screen and delivered to the viewer as material for forming new images. Fantasy and reality merge in oceanic, lucid dream. Inspired by the way ancient people connected scattered stars to create narratives, his work invites viewers to discover their own relationships between images and construct new meanings from what already exists. In his artistic practice, Makino captures video of ready-made objects including natural phenomena, humans, and cities, with various formats. In the editing process, he layers and configures them into the fields of mesmerizing, shimmering textures that distinguish his imaginative films.
Retro Addict Vinyl Collection - A new series is born.
Five years of parties. Countless memories. Now, the music lives on.
After five years of bringing legendary club sounds back to life, Retro Addict takes the next step: bringing the energy of the dancefloor straight to your record collection.
Introducing the Retro Addict Vinyl Collection: two double-vinyl editions curated byDJ Furax, celebrating retro classics, trance anthems and early rave sounds that defined a generation of clubbers.
The Red Edition features iconic tracks including Rave 93 and Stress, while the Blue Edition brings together dancefloor favourites such as The Jumper and Orgus 69. Two distinct collections, united by one shared passion: the timeless music that made club history.
Whether you're a longtime fan, a vinyl collector or simply want to relive the magic of the dancefloor, these releases are an invitation to rediscover the sounds that started it all.
The party goes on!
For the past five years, Retro Addict has brought the spirit of legendary club nights back to life, creating unforgettable events dedicated to the sounds that shaped an entire generation.
And this is only the beginning. The music continues, the memories live on, and the dancefloor is waiting.
Join us at our upcomingRetro Addict parties and keep the spirit alive.
Retro Addict Vinyl Collection - A new series is born.
Five years of parties. Countless memories. Now, the music lives on.
After five years of bringing legendary club sounds back to life, Retro Addict takes the next step: bringing the energy of the dancefloor straight to your record collection.
Introducing the Retro Addict Vinyl Collection:two double-vinyl editions curated by DJ Furax, celebrating retro classics, trance anthems and early rave sounds that defined a generation of clubbers.
The Red Edition features iconic tracks including Rave 93 and Stress, while the Blue Edition brings together dancefloor favourites such as The Jumper and Orgus 69. Two distinct collections, united by one shared passion: the timeless music that made club history.
Whether you're a longtime fan, a vinyl collector or simply want to relive the magic of the dancefloor, these releases are an invitation to rediscover the sounds that started it all.
The party goes on!
For the past five years, Retro Addict has brought the spirit of legendary club nights back to life, creating unforgettable events dedicated to the sounds that shaped an entire generation.
And this is only the beginning. The music continues, the memories live on, and the dancefloor is waiting.
Join us at our upcoming Retro Addict parties and keep the spirit alive.
raum…musik welcomes Jaffa Surfa back for its 121st release with ‘Tribal Diesel EP’, a four-tracker moving through progressive techno, industrial-tinged minimal, house and broken beat. Rather than treating these as fixed genres, Surfa reshapes them into something uncanny and unmistakably tribal, while keeping the groove firmly at the centre.
That approach is clearest on the A-side. “Diggers Diesel” has a ritual pull and, as the EP’s title suggests, finds Jaffa Surfa at his most tribal. Processed drums and splintered voices gradually lock into a hook while murky synths shift beneath them. “Lidl Sin” takes a leaner, slightly industrial but definitely understated route. Its reduced arrangement leaves enough room for each detail to register, with drums, synth stabs and sequenced lines appearing to exist in a state of constant mutation. On the b-side, “NGLZ” is the EP’s most direct house cut, driven by heavy low end, syncopated rhythms and flashes of phased samples. Breakbeat accents and old-school vocal fragments nod towards US house, though the track’s restless movement keeps it from settling into anything conventional. “Upstarz Galeri” closes on a wider screen, carrying traces of krautrock and decades-old sci-fi and cyberpunk soundtracks without ever feeling nostalgic. Airy and expansive, it pairs breakbeats and growling basslines with densely layered samples, giving its machine funk an unexpectedly emotional charge.
'Tribal Diesel EP' never overstates the contrast between its parts. Jaffa Surfa holds everything together through texture, rhythm and an almost cybernetic atmosphere. It is clearly built for the club, but carries enough personality and ambiguity to reward closer listening.
Precision and intent. HYS007 navigates minimalism through discipline, dissonance, and bold force. A harmonic journey with a singular aesthetic direction.
Amsterdam-based Moody Mehran captures the atmosphere of a soft Mediterranean sunset perfectly. Just in time for late summer, the Dutch-Iranian artist debuts on SEVEN with four trance-infused, uplifting cuts, alongside a remix by Maruwa. The EP channels a distinct Balearic-leaning, '90s trance sensibility. Melodic, sun-drenched and emotionally direct. Built for open-air floors and festival moments, these tracks are driven by shimmering synth sequences, rolling basslines, crisp percussion and psychedelic sound design. It’s a sound reminiscent of trance’s golden era reduced to its essence: simple, euphoric, and highly effective.
"ASSEMBLE MUSIC 15 YEARS - Part I : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part I opens with XDB, an artist whose relationship with Assemble goes far beyond a single record. His deep, understated approach to house and techno has always been closely connected to the musical identity of the label. Aubrey, one of the enduring figures of the UK underground, follows with decades of experience behind him and a catalogue that stretches back to the early 1990s. Synchrojack connects the compilation to another important lineage: the raw and deeply individual British house music with a track produced and never released in the 90's. Activ-Analog bring their machine-driven, analogue approach back to Assemble after previously releasing on the label, while Kumquat Kids aka Julian Phethean & Steve O'Sullivan with a track originally released in 1999 on the Various Positions EP for UK label Organised Sound. "Surface" is a genuine late-90s underground rarity! Over the years, the original 12" has become increasingly sought-after and notoriously expensive on the second-hand market."
*Kissa* is an immersive ambient electronic project crafted by Mathias, drawing inspiration from the serene and evocative atmosphere of Japanese jazz kissa cafés. These intimate spaces, known for their deep reverence for music, serve as the foundation for *Kissa’s* sonic landscape—where warm nostalgia and futuristic minimalism intertwine. Consisting of eight expansive compositions, *Kissa* abandons traditional rhythmic structures, allowing sound itself to guide the listener. Ethereal textures, evolving drones, and subtle harmonic shifts create a meditative experience that blurs the lines between memory and imagination. Each track is a portal—an invitation to lose oneself in sound, to explore the spaces between notes, and to embrace stillness as a form of movement. With *Kissa*, Mathias redefines the boundaries of electronic music, crafting an experience that is at once deeply personal and universally resonant. Whether serving as a soundtrack for introspection or a companion for late-night contemplation, *Kissa* embodies the essence of timeless listening—where music is felt, not just heard.
Rare! Limited! Hand Stamped! First and un-official Love Parade theme from 1989 and remained unreleased to this day. The Techno Deep Club were 8 guys from the early acid house scene in Berlin who organized some of the first acid house parties in both West and East Berlin, starting even before the wall came down in 1989. These three acid-experimental tracks have been recently rediscovered and are now being immortalized for the first time in a small edition remastered on vinyl.
Cosmic Breeze Records is happy to present From Above, from Brussels based producer Bass Toast, an artist who has spent years honouring and preserving the rich musical house heritage. Bass Toast has always had an enormous will to connect what separates.From the early New York House to intricate broken beats, he’s been spending the last few years colliding different genres, soulful at heart, both club and non club, comfortable and uncomfortable, celebrating the floor and the grace of simply listening.The A side opens with African Girl, sexy and sensual, moving you in slowly before FromAbove takes you on a whimsical Latin journey, before Stance closes it out with a broken beats jazz and intricate drums that reward every listen. The B side shifts weight, Chucho and Watch And Remember are both club-oriented, propelling without ever losing the thread that runs through the whole record, before Childhood Memories closes everything down with grace.
“A lot of people run to see who’s fastest. I merely run to feel the breeze.”
In the early ‘10’s the WPH Summer Special was a yearly tradition: a stamped vinyl only releases featuring lost tracks, one-off collabs, dreaded digital only gems, etc. Some summer specials were so hot we released them in the winter to battle the cold…
Guess what? It’s back! Four killer tracks on one slice of vinyl. Satoshi Fumi remixing Ian O’Donovan to devastating Detroit-styled effect, Red D taking things deep with some dreamy deep house magic, Fabrice Lig going from ‘Border 2 Border’ on vinyl with Red D & Lady Linn and then Uit De Hoogte teaming up with Lefto for an oldskool house jam that will only be available on this release.
If this doesn’t get your heat up…
Ame: Thanks for ‘Border 2 Border’
Frankey & Sandrino: Great music in here, thanks!
Ben Sims: Ian O’Donovan one…asap!
Axel Boman: The dancefloor is open indeed.
Terre Theamlitz: Thank you for ‘Sweet Synthie Pauline’.
Simon Caldwell: Lovely E.P. of reminiscence!
Satoshi Fumi: Cool pack J
Red Rack’em: Love the Satoshi Fumi remix.
Severino Panzetta: Grooovy!
Jimpster: I can imagine the Ian O’Donovan working nicely. Classy stuff!
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
Mario Batkovic’s music occupies a singular space between composition, performance and sonic experimentation.
Based in Bern, Switzerland, the composer, accordionist and multi-instrumentalist has developed an intensely personal musical language rooted in a radical interrogation of the accordion — its timbre, mechanics, physicality and rhythmic potential. In Batkovic’s hands, the instrument becomes something far beyond its conventional role: a source of intricate, evolving sound in which performer and machine appear to become one.
Batkovic received International critical acclaim when his eponymous debut album was released on Invada Records in 2017, with Rolling Stone listing it in the top 10 avant-garde albums of the year. ‘INTROSPECTIO’ followed, a self-questioning, self-examination of society which featured collaborations with Colin Stetson, James Holden and Clive Deamer (Radiohead / Portishead).
II sees Batkovic venture further into radical, uncompromising and experimental territory, both in the reduction and the expansion of sound. Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument.
The album is built entirely around the physical relationship between one musician and one instrument. No loops, no electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. A primal force of creation and destruction.
With credits that include music for the global hit game 'Red Dead Redemption II’, commissions for AMI Paris, Cartier Fondation, Hugo Boss, Chanel and film scores ‘Mad Heidi’ and ’Shame and Money’ his compositional work has extended into some of the most distinctive fields of contemporary culture.
Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.
Ghost Funk Orchestra (GFO) kehren mit ,Yours in The Ranks of Death", ihrer bisher bodenständigsten und persönlichsten Sammlung von Songs, in unseren Orbit zurück. Nachdenklich und ätherisch - auf dem fünften Album von Ghost Funk Orchestra reduziert Komponist und Mastermind Seth Applebaum die Klänge und konzeptionellen Grundlagen und schafft so für seine typischen Grooves einen klareren Rahmen, in dem sie über den Plattenteller gleiten können. Wie die Strahlen der Sommersonne, die den Morgennebel langsam auflösen, treten nun die Konturen und kristallklaren Figuren deutlicher hervor, die Ghost Funk Orchestra seit ihrem Beitritt zum Label im Jahr 2018 zum groovigen, modernen psychedelischen Soul-Jazz-Boogaloo-Rückgrat von Karma Chief Records gemacht haben. Eine treibende, poetische und funkige Form der Selbstreflexion.
Ghost Funk Orchestra (GFO) kehren mit ,Yours in The Ranks of Death", ihrer bisher bodenständigsten und persönlichsten Sammlung von Songs, in unseren Orbit zurück. Nachdenklich und ätherisch - auf dem fünften Album von Ghost Funk Orchestra reduziert Komponist und Mastermind Seth Applebaum die Klänge und konzeptionellen Grundlagen und schafft so für seine typischen Grooves einen klareren Rahmen, in dem sie über den Plattenteller gleiten können. Wie die Strahlen der Sommersonne, die den Morgennebel langsam auflösen, treten nun die Konturen und kristallklaren Figuren deutlicher hervor, die Ghost Funk Orchestra seit ihrem Beitritt zum Label im Jahr 2018 zum groovigen, modernen psychedelischen Soul-Jazz-Boogaloo-Rückgrat von Karma Chief Records gemacht haben. Eine treibende, poetische und funkige Form der Selbstreflexion.
By Most Bands' Fifth Album, The Sound Is Pretty Set. Parameters
Established. Refinement Dissipated In Favour Of Formulaic Execution Of
What's Worked In The Past. Fair Enough. All Them Witches Take A
Harder Route. In 2017, The Nashville Four-piece Offered What Might've
Otherwise Become Their Own Template In Their Fourth Album, 'sleeping
Through The War'. Their Second For New West Records Following
2015's Mellow-vibing 'dying Surfer Meets His Maker', 'sleeping
Through The War' Brought Larger Production Values To Dug-in Heavy
Psych Blues Jamming With Oversight From Producer Dave Cobb (jason
Isbell, Sturgill Simpson). After Exploring New Ground On 2013's
'lightning At The Door' And 2012's 'our Mother Electricity' As Well As
'dying Surfer Meets His Maker', With 'sleeping Through The War' The
Band Had Arrived At Something New, Something Sprawling, And
Grander-feeling Than Anything Before It.
So Naturally, In A Year's Time They've Thrown That All To The
Appalachian Wind, Turned The Process Completely On Its Head And
Reversed Paths - Recording In A Cabin In Kingston Springs, About 20
Miles Outside Of Nashville On I-40, With Guitarist Ben Mcleod At The
Helm. The Result, Mixed By Rob Schnapf (beck, Elliott Smith, Kurt
Vile), Is The Most Intimate, Human-sounding Album All Them Witches
Have Ever Recorded And Another Redefinition Of The Band. Introducing
Keyboardist / Percussionist Jonathan Draper To The Fold With Mcleod,
Bassist / Vocalist Charles Michael Parks, Jr., And Drummer / Graphic
Artist Robby Staebler, The New Eponymous Record Isn't Self-titled By
Mistake. It's The Band Confirming And Continuing To Develop Their
Approach, In The Shuffle Of 'fishbelly 86 Onions', The Organ-laced
Groove Of 'half-tongue', The Tense Build Of 'hjtc' And The Fluid Jam In
Closer 'rob's Dream'.
From The Sustained Consonants In Parks' Vocals To Mcleod's
Commanding Slide In 'workhorse' And Drifting Melancholy At The
Outset Of 'harvest Feast', All Them Witches Are Laying Claim To The
Essential Facets Of Their Identity.
Lp Format Pressed On Red Transparent 140g Double Vinyl In A Gatefold
Sleeve.
For Fans Of The Oh Sees, Baroness, Mastadon.
Original Jazz Classics celebrates Miles Davis’ centennial with the release of Steamin' with the Miles Davis Quintet. Released on Prestige in 1961 as one of four albums recorded in 1956 at Van Gelder studios, Steamin’ features Davis with his first great quintet of John Coltrane, Paul Chambers, Red Garland and Philly Joe Jones. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Tip-On Jacket.
Original Jazz Classics celebrates John Coltrane’s centennial with this release of his 1958 album Soultrane. Recorded at Van Gelder Studios in New Jersey, the album contains 5 cuts from the quartet featuring Coltrane alongside Red Garland (piano), Paul Chambers (bass) and Art Taylor (drums). This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
10 years since his first edits outing on RNT, label co-founder JKriv digs into his deep well of reworks for a four-tracker of cheeky dancefloor madness. Coming in hot on the A side, I Feel Amor is modern twist on the disco classic anthem, a peak time weapon of epic proportions with hard-hitting beats and churning synths, and the inimitable sing-along vocal (pero en Español). Love Dub is a stripped down deep house affair, a solid driving groove with thunderous bass, synth accents and acapella flourishes. On the B-side, Cuando Bailo is the edit you didn’t know you needed; a callback to a bygone era of one-hit wonder magic, flipped masterfully to be all-club and just a sprinkle of camp. And rounding off the record Dance Sexy takes an obscure purple-hued cover into hypnotic red-light territory, with funky synth stabs riding a pulsing and infectious bass line, in classic JKriv fashion.
"Potency continues apace with 'Jackin Shit', a gleefully self-explanatory EP from label founder Cromby. Following widely-played recent releases from Malik Kassim aka Retromigration, Trax Unit and Rhythms of Prescott, the prolific DJ and producer reaffirms his imprint's fundamentals with four upfront, high-energy tracks, each reflecting a different facet of the Belfast-via-Berlin producer's decades-deep understanding of house and techno history. Title track 'Jackin' Shit' gets things moving with a rich blend of rolling basslines, liquid keys and diva'ed up vocal snippets. Lucid and groovy in the style of seminal East Coast vocal pleasures, Cromby's vision of house is nonetheless driven by a dusty kick drum that references Head High/WK7, or Paul Woolford in a warehouse somewhere... In contrast, 'Sense Control' places percussion front and centre, locking in a tight rhythm in order to ride out a liquid collage of acid lines, ecstatic piano and other blissfully wavy elements. 'Con Gas' establishes a tougher direction on the flip, finding Cromby's busier instincts reduced the simplest of ingredients - sub, bass and stabs - taking dancers deep into the bowels of house, replete with classic vocal call-outs, and yes, even a well-earned inbuilt spinback. Having exhibited such restraint, we're unceremoniously booted out of the cubicle and back toward the strobes for 'Cheeky Bump', a rubbery, driving dancefloor tool guaranteed to delay any impending cab home. Colourful, charismatic and exclusively engineered for true party people, 'Jackin' Shit' finds Cromby returning to home turf on definitive form."
Perry Louis is a pivotal figure in the UK jazz dance movement. As a dancer and choreographer, producer, DJ, broadcaster, and founder of the internationally respected jazz dance collective JazzCotech Dancers, he is perfectly placed to curate this collection.
Perry has been at the heart of the scene since the early 1980s, from JAFFAS, the Electric Ballroom, Dingwalls, Acid Jazz, Hi Hat, and Messin’ Around, taking its energy and sound as far as Japan, the USA, St. Lucia, India, Canada, and across Europe.
This compilation celebrates 25 years of Shiftless Shuffle, with Perry as its ambassador and driving force. Over the years, he has collaborated with top DJs including Paul Murphy, Gilles Peterson, Snowboy, Colin Curtis, and Shuya Okino, helping shape the UK jazz dance sound into a global phenomenon.
The album blends deep jazz, fusion, Latin, and groove-driven tracks, reflecting both the scene’s rich heritage and its forward momentum.
From the brand-new exclusive track by Kyoto Jazz Massive, Get It Together (Samba Fusion Mix), to Bunny Brunel’s Fickle Funk appearing on vinyl for the very first time, and the hard-hitting Caribbean Fire Dance by Tom Grant, this compilation tells the story of a movement—an underground culture born on UK dancefloors that has now captured a worldwide audience.
The sonic movement once known as downbeat continues to cast a long and intimidating shadow over the Austrian electronic music scene, with influential figures like Kruder & Dorfmeister reigning atop a metaphorical mountain of venerable dubplates, resembling ancient gods.
Now, emerging from the depths of this mountain, comes "Triangle," poised to rejuvenate the genre with its eponymous album, brimming with the purest liquid downbeat gold.
Featuring an abundance of dusty breaks, reggae vocals, atmospheric keys and strings, dub stabs, wonky acid sequences, and deep basslines, these tunes check all the right boxes without ever feeling like mere imitations. The overall vibe remains warm, mellow, and hazy, while each track seamlessly weaves in an array of peculiar soundbites.
After a second listen, you may well conclude that this album is a rediscovered DAT tape from the 90s, unearthed from a Viennese basement.
Dive into the depths of "Triangle," an album that bridges eras of timeless electronic soundscapes.
Sciahri and Sublunar are truly proud to present the next chapter in the label's journey: Hadone's debut album, Kept What Remained. Known as the co-founder of TSSRCT alongside UFO95, and following his contribution to Veil Of Echoes II, Hadone returns to Sublunar with a body of work that fully showcases the breadth of his artistic vision. Throughout the album, he reveals an impressive ability to merge emotional depth, powerful rhythms and sophisticated sound design into a deeply personal and unmistakable sonic identity, further establishing himself as one of the most compelling artists in today's techno landscape. The journey begins with the ambient title track, "Kept What Remained", an atmospheric introduction that sets the tone for everything that follows. It seamlessly transitions into "It Was Never Really Gone", a deeply emotional piece with a memorable arrangement that lingers long after it ends, before "Red Hour" raises the intensity through driving percussion and a tougher sonic approach. The B-side opens with "The Enemy Within", an explosive combination of intricate sound design and powerful rhythmic structures. It is followed by "Claim Your Due", a more submerged and atmospheric composition whose versatility makes it equally effective across different moments of a set. On the C-side, "Nobody Hears The Warning" gradually builds momentum through hypnotic energy and striking production, leading into "A Gentle Kind Of Madness", where beautifully crafted synth work and meticulous arrangements create one of the album's most distinctive moments. The final side begins with "A Dog That Learned To Speak", blending contrasting synth textures and detailed effects into a constantly evolving soundscape. The album concludes with "The Quiet Refusal", an epic and powerful closing statement that perfectly brings together the emotional intensity, coherence and artistic vision of the entire record. With Kept What Remained, Hadone demonstrates that innovation doesn't require sacrificing identity. Instead, he delivers an album that is bold, emotionally resonant and unmistakably his own, confirming his place among the leading voices of contemporary techno.
A pioneering keyboardist of crossover music in Japan, Jun Fukamachi recorded and released this hidden masterpiece of the early Japanese fusion era in 1975 as part of Toshiba EMI’s audiophile-oriented high-fidelity analog “Pro Use Series”.
Now, it returns on clear red vinyl.
Backed by a powerhouse rhythm section consisting of drummer Shuichi “Ponta” Murakami and bassist Ray Ohara, Fukamachi showcases a rich palette of analog synthesizer sounds, while Kenji Ohmura delivers breathtakingly intense and fluid guitar solos.
The centerpiece of the album is the approximately 14-minute jazz-funk epic “Bamboo Bongo”, a standout track that perfectly captures the virtuosity and adventurous spirit of this landmark recording.
MONSKI´S SOUND FEELS LIKE A 90s SKATEVIDEO ON VHS - ELECTRONIC, WARM AND LOVINGLY HANDMADE. IMPERFECTIONS WELCOME.
THE MAIN INSTRUMENTS DOUBLE BASS, GUITARS AND ANALOG SYNTHS MELT WITH INTENSE ELECTRONIC RHYTHMS TO DEEP AND HYPNOTIC GROOVES - INSTRUMENTAL AND MOSTLY DOWNTEMPO.
MONSKI EARNS HIS MUSIC GEAR BY SHOOTING FILMS - NO WONDER HIS SOUND IS OFTEN DESCRIBED AS CINEMATIC. INSPIRED BY VISUALS - ESPECIALLY BY CAPTURED PERSONAL MOMENTS WHICH OFTEN TURN INTO HIS RELEASES´ ARTWORK. IT´S HARD TO PUT THIS EP INTO A BOX - ITS UNIQUE STYLE HOVERS SOMEWHERE BETWEEN ORGANIC DOWNTEMPO, TRIP HOP, FOLKTRONICA AND HOUSE.
ENDUROS - 6 TRACKS OF MONSKI´S RAW SIGNATURE SOUND:
ROLLER: THE MOODY DRAGGING TRIP HOP GROOVE (88 BPM) STARTS DEEP AND REDUCED BUT RESOLVES INTO A WIDER CINEMATIC HARMONY OF SYNTHS AND STRINGS.
ENDUROS: EVOLVING FROM ELEMENTS OF ROLLER, IT SPEEDS UP TO 120 BPM AND ENTERS THE REALMS OF ORGANIC HOUSE / FOLKTRONICA. AN UNPOLISHED HANDMADE BEAT WITH DRIVING BASS AND GUITAR RIFFS, CULMINATING IN A MELODIC CLIMAX.
FUNZEL: ORGANIC DOWNTEMPO ELECTRONICA (100 BPM). WARM AND SOFT SYNTH CHORDS AND A SAX SAMPLE ADD A JAZZY FEEL TO THE RHYTHMIC FOUNDATION OF DOUBLE BASS, GUITARS AND PERCUSSION.
ADDITIONALLY THE EP ROUNDS UP THE ALREADY RELEASED TRACKS: RADIO BEAMER, ELECTRIC BOX, AND QUARTZ.
The first chapter of our 40th Anniversary celebration brought “Love Spy” back to vinyl and invited a new generation of producers to look at Mike Mareen’s 1986 classic from their own perspective.
Part 2 continues the story, but there is no reason to tell the same tale twice.
This time we reach once again into the original 1986 package and bring back the “Salutation Mix”, pairing it with two completely new remixes created by two remarkably colourful personalities from today’s European electronic underground.
And colourful is definitely the right word.
The first comes from Tyrell Corporation.
Behind that name stands Martijn Hoogendijk, better known to most electronic music heads as Alden Tyrell.
For almost three decades, Tyrell has been one of the most distinctive characters of the Dutch electronic scene. His musical world has moved freely between Italo Disco, electro, techno, acid, house and EBM, always with an obvious fascination for machines, analogue synthesis and the raw energy of early electronic dance music.
His relationship with Italo is certainly not a recent fashion. One of his earliest Alden Tyrell releases, “Love Explosion”, appeared on I-F’s Viewlexx label back in 1999, at a time when only a relatively small group of Dutch fanatics were already rediscovering and reinterpreting the forgotten European electronic sounds of the previous decade.
Since the early 2000s he has also been deeply connected with Rotterdam’s legendary Clone Records, not only as a producer and collaborator, but as one of its most important mastering engineers. His fingerprints can be found on an enormous number of Clone releases, including the label’s celebrated work restoring and reissuing the Drexciya catalogue. His studio tells much the same story. Synthesizers, drum machines and hardware collected over decades surround a producer whose fascination with electronic instruments started when he bought his first synthesizer in the 1980s.
For “Love Spy” he appears as Tyrell Corporation and delivers exactly what one might hope for from someone with that history: a remix that understands the original language of Italo and Hi-NRG, but speaks it with the experience of nearly three decades spent inside Dutch electro, techno and machine music.
The second new interpretation comes from France. Bubs, real name Maxime Bunel, followed a very different route.
His earlier productions grew from house, disco and French-touch influences, but over the last few years his attention has increasingly shifted toward Italo Disco, Hi-NRG and the rapidly expanding contemporary italowave scene.
In 2025 he made that commitment official by launching Filter Phaser, his own label dedicated specifically to the new generation of Italo Disco and Hi-NRG. And his “Love Spy” remix shows exactly why his name has been appearing more and more often in this scene. This one is pure dancefloor ammunition.
Bubs keeps the elements that make “Love Spy” instantly recognisable, but raises the temperature considerably. The energy is harder, the dynamics are bigger and the production has been pushed towards the sound of contemporary italowave without sacrificing the melody, drama and personality of Mike Mareen’s original. Old DNA, new blood.
The result is not an attempt to drag “Love Spy” away from 1986. Quite the opposite.
Both remixers clearly understand why the record still works forty years later. They simply approach that DNA from two different generations and two different corners of European electronic music, but with the same respect and adoration to Mike Mareen’s legacy.
The 40th Anniversary Edition Part 2 comes pressed on classic black vinyl and a special ruby-red vinyl edition.
It is also the final Vintage Pleasure Boutique release of 2026.
And somehow it feels like the right record to close the year.
Moroccan-born producer Reda Senhaji, better known under the name Cheb Runner, presents 80K, the second installment in Beat Machine’s TERRA TEMPO series. A direct tribute to the cultural heritage of the Souss Massa Darâa region, the release reactivates ancestral rhythms and translates them into a forward-looking electronic language rooted in place, memory, and physical sound.
Drawing from traditions such as Ahwach, Gnawa, and other interconnected practices from the Souss region, the EP preserves original rhythmic skeletons while reimagining them through modern production and club-oriented structures.
Across six tracks, traditional instruments and electronic elements collide fluently, where the 808 functions as a structural force rather than an accent. From the rolling pulse of Iznagn Engines and the evocative contours of Azn Oudrar to the spiritual resonance of Gn-Awa, the B-side expands the journey with the sub-heavy Afouss Adar 808, the atmospheric Tarwan Ganga, and a reinterpreted Gn-Awa by Guedra Guedra, layered with intricate textures and low-end pressure.
Moving between bass, world, and electronic territories, 80K reflects a deliberate balance between preservation and transformation. Music that carries ancestral rhythms into new listening spaces, bridging generations, cultures, and sonic worlds within a single, cohesive experience.
The fifth chapter of The Third Room's curator-led series is shaped by Alarico, one of the defining voices of a new generation pushing techno into faster, sharper and more rhythm-driven territory. Through his productions, DJ sets and close ties to a network of like-minded artists, he has helped shape a contemporary sound defined by tension, detail and forward momentum. For his curation, the focus lies on connection. Bringing together artists operating within a shared sonic language, the release reflects a generation where precision, movement and emotional depth exist in constant dialogue. The record opens with Connection, a first official collaboration between Yanamaste and Alarico. The track captures the intersection of both artists' approaches: Yanamaste's intricate and distinctive synth work meets Alarico's driving, forward momentum. Fast, pulsing and tightly controlled, it unfolds through cycles of tension and release, stripped back to its essential elements. On Crimson Leaf Minstre, Toru Ikemoto builds a detailed and contrasting sound palette. Bright, delicate elements interact with darker stabs that disrupt and reshape the rolling bassline, creating a sense of movement that feels continuous rather than moment-based. The track leans into depth and variation, balancing clarity with a more mysterious tone. Blue Lights by Lea Occhi & Amotik shifts into a more groove-led space. What begins with a functional framework gradually opens up - subtle chords and restrained vocal elements add texture and attitude without overtaking the structure, resulting in a track that feels both light and deep. Closing the record, IB1809 sees Alarico return with a defining statement. Reduced but highly present, the track builds around a strong rhythmic core, where chords, melody and vocal fragments interlock with precision. There is a sense of contrast at play - melancholic yet driven, vulnerable yet forceful - culminating in a moment that feels both functional and expansive. Across all four tracks, the release remains tightly focused - fast, dynamic and cohesive, with a strong emphasis on movement and detail. As the fifth entry in the series, it captures a distinctly modern strain of techno, where emotional nuance and rhythmic intensity are no longer in opposition, but fully aligned. A1 Written and Produced by Irakli Danelia & Alarico Zucchi | A2 Written and Produced by Toru Ikemoto | B1 Written and Produced by Lea Occhi & Anil Chawla | B2 Written and Produced by Alarico Zucchi Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact
The final chapter of The Third Room's curator-led series is shaped by GiGi FM, an artist whose work moves fluidly between club functionality, emotional storytelling and immersive sound design. Through her productions and performances, she has developed a distinct language where rhythm, atmosphere and movement exist in constant dialogue. For the closing chapter, the focus lies on cohesion. Bringing together artists connected through a shared sensitivity for groove, detail and space, the release unfolds through percussive structures and atmospheric elements that move with clarity, depth and intention. The Half Bearded Man by Fergus Sweetland opens the record. A rough yet detailed rhythmic framework, syncopated percussion and a rolling bassline create forward motion, while softer elements and a subtle vocal layer introduce a contrasting sense of lightness, drawing the listener into the track. On Shark Attak, D-Leria places percussion at the centre, but with a more restrained approach. Polyrhythmic bleeps and high-frequency sweeps weave around the groove, maintaining depth and tension without becoming intrusive, giving the track a quiet but persistent drive. The B-side opens with one of its defining moments: Anukari, a collaboration between Efdemin and GiGi FM. Bringing together two distinct approaches, the track unfolds as a layered and atmospheric piece: detailed percussion, connecting textures and subtle melodic fragments create a sense of depth that feels both modern and slightly otherworldly, while remaining inviting and grounded. Closing the record, Even by Fireground reduces the elements further. Warm chords and a restrained rhythmic core create an open, enveloping space, balancing softness with tension and allowing the track to unfold with a quiet sense of momentum. Across all four tracks, the release remains tightly cohesive: built on groove, space and carefully placed detail. As the final entry in the series, it shifts the focus from structure to flow, offering a closing chapter that feels immersive, connected and complete. A1 Written and Produced by Fergus Sweetland | A2 Written and Produced by Giuseppe Scaccia | B1 Written and Produced by Giulia Fournier & Philip Sollmann | B2 Written and Produced by Angela Dragonetto & Danielle Paduano Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact
