Suche:rhythm in progress

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

FreedomB Delivers Timeless Groove on 'Essence Of Soul EP'. FreedomB is an artist defined by groove and movement rather than place. Drawing influence from jazz, funk, soul, and the earliest house and electronic rhythms, his sound is rooted in timeless dance music traditions and built for long, immersive nights on the floor. Focused on rhythm, flow, and emotional energy, FreedomB's productions exist to make people dance without compromise. With releases on labels such as Knee Deep In Sound, Roush, Toolroom, Sola, ElRow Music, and Flashmob Records, FreedomB has earned support from leading names including Hot Since 82, Supernova, Hector Couto, Solardo, and Flashmob. Now joining the Definitive Recordings catalogue, FreedomB presents 'Essence Of Soul EP', a two-track release that captures his deep-rooted love for classic house, disco, and soulful dancefloor energy. On 'Mi House Es Tu House', FreedomB delivers pure house nostalgia. A groovy beat and subtle bassline form the foundation, joined by classic piano chords that immediately set the tone. As the track unfolds, disco samples, a 90s-style synth melody, and a soulful female vocal sample build toward a powerful breakdown before dropping back into full groove, introducing a second timeless house synth theme. It's uplifting, energetic, and perfectly designed for any house music dancefloor. The title track 'Essence Of Soul' shifts into a deeper, more disco-infused direction. A straighter, nu-disco- inspired rhythm sets the pace while layered synths evolve throughout the arrangement. An 80s-style bassline anchors the groove, accompanied by filtered vocal chants, disco effects, and a spoken-word vocal reflecting on the meaning of music and the dancefloor. As the track progresses, rich piano chords and classic high house strings lift the energy into an emotional, late-night crescendo. 'Essence Of Soul EP' is a celebration of groove, soul, and timeless house energy. A release that lets the music speak and invites you to dance.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

The tenth anniversary edition of Venetian Snares' Traditional Synthesizer Music adds ten more tracks and alternative versions previously available only on a limited edition compact disc from the artist's Bandcamp.Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of its recording. The goal was to develop songs with interchangeable structures and substructures, yet musically pleasing motifs.

Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece, a number of which are released for the first time on vinyl and digital for this updated version of the album. BIO Aaron Funk, mainly known artistically as Venetian Snares, is a Canadian electronic musician based in Winnipeg, Manitoba who’s been working since the mid nineties. He is widely known for innovating and popularising the breakcore genre being something of its breakout star. His signature style features complex drums and unusual time signatures and a knack for making ultra-vivid music that takes listeners into unusual places, from the aggressive and extreme, to the surreal, comic and sometimes plain beautiful. His musical explorations extend out in many different ways, from the complex Hungarian, classical-inspired Rossz Csillag Alatt Született, to acid explorations as Last Step, to innovations with modular synths on Traditional Synthesiser Music.

As a collaborator, he’s made music using intimate recordings as musical elements with the artist Hecate as Nymphomatriarch, as Poemss with Joanne Pollock, where they both sing over strange delicate pop. He’s recorded an album of rich, edited improvisations with producer and guitarist Daniel Lanois and he’s also part of the sometime duo Speed Dealer Moms with John Frusciante. Most recently he features on Rosalia’s album Lux on the song Reliquia, providing drum programming and production input.

Bosconi Records proudly introduces Neon Cyberwave, the first solo EP on the label by Italian electronic visionary Miguel Herrnandez, marking a milestone in the evolution of an artist who has consistently bridged Detroit-rooted aesthetics with the experimental pulse of the European underground.

Based in the Val d’Elsa region between Florence and Siena, Miguel has forged a unique sonic identity shaped by his devotion to vinyl, his deep connection to the techno capital the “Motor City”, and his passion for deeply rooted yet still futuristic electronic culture.

His productions and DJ sets—built on a seamless fusion of raw electro, deep house attitudes, new beat flavors, and timeless grooves—have appeared on respected labels such as Bosconi, Rawax, and Norm Talley’s Upstairs Asylum. With Neon Cyberwave, he now delivers his most complete and personal statement to date.

The EP opens with “Neon Cyberwave”, a powerful acid-driven stomper built around a rolling 303 bassline, warm melodies, and an emotional breakout moment that captures both the effectiveness and the sensitivity of Miguel’s approach. It flows naturally into “Italo FM”, a track infused with Italo disco spirit—choir-like harmonies, a punchy bassline, and a groovy, ecstatic progression that turns into a genuine dancefloor trigger.

The journey deepens on the flip, where “VHS Direct Drive” introduces a dystopian atmosphere characterized by constantly shifting, unusually toned bass movements—unpredictable yet catchy, fresh yet rooted in classic electro DNA. This is followed by “Electric Soul Stranger”, where Miguel navigates Drexciyan undercurrents and subtle Gigolo-era references, balancing between straight rhythmic propulsion and broken-beat twists to create a cold, mental, transportive electro experience.

The record closes with the epic “Punky Shift”, a dramatic and powerful finale echoing the spirit of artists like The Hacker. Dramatic strings, an intense acid bassline, and a massive groove come together to shape a timeless closing track—one designed for peak emotional moments, sunrise sets, and long-lasting memories.

With Neon Cyberwave, Miguel Herrnandez has crafted a work that feels fresh yet nostalgic, classic yet forward-facing, and deeply personal. It stands as a versatile DJ weapon, a tribute to electro’s past and future, and a defining chapter in the artistic evolution of one of Tuscany’s most intriguing electronic voices.

Esbe returns to Cold Busted for a phenomenal new four-track EP, Sunset Girl. With previous releases on Dusted Wax Kingdom and Cult Classic, as well as his acclaimed Bloomsday and Late Night Headphones albums for Cold Busted, the Los Angeles-based multi-genre beat-maker is riding a wave. Sunset Girl is another exciting moment in Esbe's musical progression. The release starts quietly with the gentle, muted piano chords of "Special." A sparse hip-hop beat and subdued melodic layers round out the tune, cutting away to reveal a lonesome vocoder vocal. "Again" is as close as Esbe gets to a pop song, as a carefree male vocal and twinkling pianos ride over a crisp, solid rhythm track. More delights await on "Sunset Girl" with its simple piano line, reverby percussion hits, distant sax solo, and splashes of vocal collide in a sonic daydream. "I Want Love" closes things out on a vintage flavor, with echoes of a mid-century school dance reverberating into a modern day beat battle. Potent vibes all around.

Two years since DJ KOCO aka SHIMOKITA curated his sold-out Mr Bongo Brazil 45 boxset, he is back with another Record Store Day special, this time turning his attention to Cuba. Following a meteoric rise to the top, the Japanese DJ / turntablist extraordinaire has won the world over with his unquestionable humility, refreshing positivity, and flawless skills. The DJ’s DJ, it’s as much about taste as it is technicality for one of the world’s best showmen.

When the idea arose for a Cuban Classics 45 Boxset to mark RSD 2026, DJ KOCO was top of the list. With a deep-seated passion for Cuban music, its melting pot of cultures, its focus on rhythm, and its undeniable groove, DJ KOCO presents a selection of his favourite Cuban cuts, as well as two exclusive edits for the boxset.

It kicks off with the Latin funk sounds of Ricardo Eddy Martínez y Expreso Rítmico’s ‘La 132’ from 1978, before rolling into one of two spellbinding Juan Pablo Torres y Algo Nuevo cuts found on the boxset. Elsewhere, you’ll hear Farah María’s slow disco ‘Ámame Y No pienses Mas’, an unusual American-leaning production for Cuba at the time, given the state of US-Cuban political relations in that period. Other highlights include Orquesta Riverside’s ‘En Casa Del Trompo No Bailes’, taken from a rare collectable 7”, channelling a low-slung Latin bounce which explodes into an Afro-Cuban dancer as the track progresses.

In signature style, DJ KOCO has also served up two exclusive edits for the boxset. These include a reworking of the Cuban children's band Grupo Ismaelillo’s quirky ‘Amanecer’, giving it a more DJ-friendly structure. You’ll also find DJ KOCO’s take on FA-5’s much-loved funky dancer ‘Muévete Con Las Fuerzas Del Corazón’ with its heavy b-boy/girl break from 1976.

Testament to Cuba’s vast and vibrant musical landscape, DJ KOCO has cherry-picked some of the finest recordings to emanate from the country, spanning a wide range of styles and rhythms. Yet what ties all the tracks on this boxset together, is a hip hop sensibility and thirst for a breaks-heavy, danceable energy which radiates through DJ KOCO’s masterful DJ sets.

Peace World Records returns with Hidden Atmospheres, the debut release produced by Max F and mixed by Space Ghost. Drawing from classic deep house and esoteric club sounds of the '90s and early 2000s, this seven-track collection channels these influences into fresh territory while preserving the digital grit and dreamlike essence of the era.

The release strikes a delicate balance between the meditative and the kinetic. On the A Side, tracks “Soul Control” and “Zone 6” highlight subtle yet hard-hitting percussion grooves and deep basslines that anchor the mix beneath ethereal pads and sweeps. Each track builds through hypnotic, evolving arrangements that reward close listening. On the B side, “Dream Channel” and “Earth Effects" both feature airy, spectral synth progressions that interweave with ephemeral yet decisive melodies, demonstrating a refined insight of space and dynamics. To round things off, Space Ghost took a crack at an energetic club remix of “Dream Channel. ” Carried by a classic 909 house rhythm and a bubbly bassline, the remix offers a fun, uplifting take on the original, complete with organ stabs and MIDI sax!

As a whole, Hidden Atmospheres delivers something new for fans of 90s and 2000s era house music. Think Ronin, Hanna, Chris Brann, Wamdue Kids—artists whose work holds its own in the club while remaining equally suited for intimate late-night listening. Throughout the record, tracks drift seamlessly between shimmering dancefloor functionality and liminal, introspective ambience, inviting repeat listens that reveal new details and "hidden atmospheres" with eachpass.

Hidden Atmospheres lands on Peace World Records April 9th, 2026.







g B3. Dream Channel Space Ghost Club Remix

On a planet far beyond our solar system lies a volcanic tropical island, a glowing mirage where alien tides crash against molten shores and the sky pulses in time with the rhythm below. E.T.H (Italy) inaugurates the first-ever
Basement Beats vinyl release with Neon Inferno. The A-side opens deep and progressive, dense with atmosphere and tension, before pivoting into the playful, radiant Cumbia Poderosa, where the artist’s roots surface through Italian vocals. As the land shifts, lava carving new paths through jungle terrain, Utrecht-based Tifra reshapes thetitle track into a hypnotic, tribal ritual meditation built for the late hours.

Closing the portal is Osaka’s Paperkraft, whose vibrant remix injects uplifting energy and subtle Asian influences, bringing the journey to a euphoric, otherworldly conclusion.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.

Chronicle continues his journey through the cosmos on Spatial bringing a stunning array of inspired atmospheric bliss with Aqua Pura. A1 - Pure Alchemy Chronicle opens his latest EP for Spatial with a sprightly track, introduced with purposeful synthwork, echoing effects and a wonderful 808 bassline reminiscent of the late 90's Progression Sessions era. Energetic, layered breaks drive and build throughout Pure Alchemy with joyous vigor, while a cluster of subtle melodies intertwine across a varied and memorable mix from the label regular. A2 - Endless Ocean Next up Chronicle treats us to an amazing array of atmospheric synthwork with Endless Ocean, notes yoyoing across the soundscape through a gorgeous intro. Flecked with shimmering, buoyant melodies and bringing an immediate injection of pace, the breaks drop delivering a driving, distinctively head-nodding energy punctuated by a blippy micro melody and suitably deep bass. AA1 - Shared Consciousness Opening with a playful intro featuring subtle hi hats, twisted bells and a classic film sample, Chronicle deftly juggles excitable effects with his inimitable cheery atmospheric style before a real feast for the ears and the feet arrives - breaks reminiscent of those long lost nights at Shepherd's Bush in 1998 bring an essential hypnotic energy to a track simply dripping with style and rhythm. AA2 - Water World Straight into the action with crisp two-step breaks, Water World needs no introduction as a myriad of atmospheric effects, samples and quirky melodies seize your attention for a decidedly dancefloor-friendly track for 160bpm heads. Beautiful breakdowns play their part as well as the subtle yet room-filling 808 bass, rumbling persistently beneath another remarkable track from one of Bristol's finest.

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Epsie steps up on Secretsundaze’s 9FINITY imprint with ‘Any Colour You Like’, a four-track EP weaving trippy, techy, and subtly progressive elements juxtaposed with darker, electro-orientated moments for a heady dancefloor statement.
Built with a live-first mentality, his productions mirror the fluidity of his sets—intricate rhythms and elastic basslines ground the EP in pace and movement. The release oscillates from the sleek to the abrasive with punchy drums and otherworldly synths existing in tandem with deep tech house grooves. A distinctly European sensibility runs throughout: restrained yet exploratory, minimal yet richly detailed, all landing with understated psychedelia and deep functionality tailored for the heads.

Michael Forzza unveils Obscure, a two-track EP navigating the darker edges of atmospheric techno with precision and intent.

A) Obscure is a peak-time weapon built on powerful percussive drive and a commanding groove. The rhythm pushes forward with controlled intensity, locking the dancefloor into motion. As the track evolves, the rhythmic pressure gradually recedes, allowing a shadowed melodic atmosphere to emerge in the final moments, adding depth and contrast without losing its dark identity.

B) Torture ventures into a more industrial realm. Dense textures, mechanical tension and hypnotic repetition shape its core, creating a sustained rhythmic strain. Then, when the pulse finally withdraws, the structure opens into a striking melodic finale, transforming the track into a suspended, almost cinematic closing atmosphere.

With OBSCURE, Michael Forzza explores the fragile line between impact and introspection, pressure and release. A release crafted for intense peak-time moments and the shadows that follow.


Français

Michael Forzza dévoile Obscure, un EP deux titres qui explore les territoires les plus sombres de la techno atmosphérique avec précision et intensité.

A) Obscure est un véritable track peak time, porté par une puissance percussive affirmée et un groove implacable. La tension rythmique s’installe et maintient le dancefloor sous pression, avant de s’effacer progressivement en fin de morceau pour laisser émerger une atmosphère sombre et mélodique, apportant profondeur et contraste.

B) Torture s’aventure dans une dimension plus industrielle. Textures denses, tension mécanique et répétition hypnotique construisent une montée intense. Puis, lorsque la pression rythmique disparaît, le titre bascule vers une finale mélodique surprenante, transformant l’énergie brute en une atmosphère finale plus immersive.

Avec OBSCURE, Michael Forzza joue sur l’équilibre entre impact et relâchement, puissance et émotion. Un EP taillé pour les heures sombres et les dancefloors exigeants.

CRYME lands on Oddysee with 5 club tools designed for maximum dance floor functionality. Titled “7th Element”, the Berlin-based producer finds himself in form with a collection of deep and dubby dance floor grooves, rhythmic programming and sexy vocal-infused house. The record also features a sophisticated slice of steamy, house-laced techno in collaboration with Ben Reymann. Another step in the SEVEN’s co-founder steadily growing repertoire that shows continues upwards progression.

New series for Jodey Kendrick with volume 1, pure 90s Acid sprinkled with funky rhythms like FSOL, Humanoid and 808 State. Exploring an escalation of breaks that are as sexy as they are captivating and progressive already open that this series will become a classic. Just quality music!

Art Bound launches its label with Ghost Signal Theory, a split EP by Brazilian producer Artürst and Georgian producer Toke, exploring a dark, progressive and electro-oriented sound where each track develops its own atmosphere while contributing to the overall flow and cohesion of the project.

Side A features Artürst with two tracks blending progressive grooves with layered textures and subtle acid-infused elements, delivering a hypnotic drive built for peak-time sets.

Side B is a three-tracker exploring Toke’s take on the Tbilisi underground, moving through high-energy electro and trance-infused passages, before closing with a deeper broken rhythm that shifts the pace and brings the journey into a more contemplative space, offering a final moment of suspension.

1/2 of seminal electronic act The Knife, Olof Dreijer will be releasing his debut album 'Loud Bloom' via dh2 this May following years of drip feeding solo music under various aliases and lending his production talents across the scene. The 14 track (double vinyl) album consists of equal parts dancefloor ready bangers (some of which have been previously released) and more still, ambient moments that highlight Olof's versatility as a producer as well as the sounds from around the globe that he takes inspiration from.


In a burst of colour and rhythm that cuts a distinctive path through modern club music, Olof Dreijer crystallises his solo work around a gleaming debut solo album, Loud Bloom, out 8 May via dh2.

Across the album, Dreijer toys with the tension between pure pleasure music and his tireless thirst for the new. You might hear the structure of a Chicago house beat or a classic drum machine hit, but at every turn these tropes are remoulded into dazzling new forms. Taking inspiration from Nigerian author Akwaeke Emezi and their ability to deliver bold, progressive themes and visionary sci-fi through the accessible lens of romantic fiction, Dreijer makes vividly unconventional dance music utterly instinctive and easy to love.

1/2 of seminal electronic act The Knife, Olof Dreijer will be releasing his debut album 'Loud Bloom' via dh2 this May following years of drip feeding solo music under various aliases and lending his production talents across the scene. The 14 track (double vinyl) album consists of equal parts dancefloor ready bangers (some of which have been previously released) and more still, ambient moments that highlight Olof's versatility as a producer as well as the sounds from around the globe that he takes inspiration from.


In a burst of colour and rhythm that cuts a distinctive path through modern club music, Olof Dreijer crystallises his solo work around a gleaming debut solo album, Loud Bloom, out 8 May via dh2.

Across the album, Dreijer toys with the tension between pure pleasure music and his tireless thirst for the new. You might hear the structure of a Chicago house beat or a classic drum machine hit, but at every turn these tropes are remoulded into dazzling new forms. Taking inspiration from Nigerian author Akwaeke Emezi and their ability to deliver bold, progressive themes and visionary sci-fi through the accessible lens of romantic fiction, Dreijer makes vividly unconventional dance music utterly instinctive and easy to love.

Gennaro, formerly known as Blackchild, returns to Cécille Records with his second release on the label, delivering a confident and deeply musical four-track EP that captures the full scope of his sound.

Each track reveals a different facet of Gennaro's musical identity.from stripped-back, groove-driven club tools to more nuanced and emotive moments - all tied together by his unmistakable sense of rhythm and atmosphere. It's a release that feels focused yet expansive, showing an artist who knows exactly where he stands and where he's heading.

Nick Curly and Marc Scholl are proud to continue working with Gennaro and to welcome him back on the label with a release that underlines both artistic growth and creative consistency. This EP isn't about following trends; it's about personality, craftsmanship and club-ready music built with intention.

A strong statement, a natural progression and a clear reflection of Gennaro's range - this is his next step on Cécille Records

We Release JAZZ is very happy to announce the limited vinyl edition of Obad’s powerful new album Suspended, a vivid document of the Tehran ensemble’s endlessly evolving sonic universe — now available as a limited LP housed in a heavyweight sleeve with an Obi strip and featuring original artwork by Iranian painter Sadra Baniasadi.
Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran’s pulse, Obad’s music is kinetic and intuitive — an ever-morphing dialogue between rhythm and texture, emotion and message.
With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another.
Sadra Baniasadi’s striking cover painting mirrors the album’s energy — bold, dreamlike, charged with movement, and extending Obad’s world into the visual realm.
Suspended stands as a major statement from one of Iran’s most compelling contemporary ensembles, marking Obad’s first release on We Release JAZZ and continuing the label’s commitment to boundary-pushing music born from profound listening, place, and collective intuition.

MP06 introduces DHAEUR to the Moving Pressure catalogue. The Berlin-based producer carves his sonic worlds through a strong sense of rhythmic architecture and a deep understanding of dancefloor dynamics. Here, he channels club-driven sensibilities into a mature and conscious 4 tracker.

The concept behind the EP reflects the principles of the label - namely, the pressure of sound and its resulting movement. Minimalism meets maximum technical intention, where swollen basslines and tightly coiled rhythmic progressions open up in signature DHAEUR style. The groove carries a distinct elasticity, punctuated by vocal inserts that add a subtly funky, almost soulful essence to the flow. Every element sits with purpose: dynamic yet
stripped back, intricately offset in ways that keep the body locked and the mind wondering. While the A-side leans into this physical immediacy - driving, playful, and sharply articulated - the B-side slips further into the tunnel. Atmospheres thicken and the palette turns eerier, stretching its essential rhythmic backbone into darker territories. Spatial details begin to seep through the structures, pulling the listener deeper while maintaining that firm gravitational pull toward the dancefloor.

Together, the two sides reveal different shades of DHAEUR's language. The result is a beautifully balanced narration between propulsion and immersion, where groove-led functionality meets a more shadowy, atmospheric depth.

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

[a] 1[USER ONBOARDING SEQUENCE]

KKYV09 is a four-track EP by Helsinki-based producer and DJ Valeria Croft, exploring a refined intersection of house and minimal shaped by funky rhythms, rolling grooves, and detailed, tactile sound design. Alongside three original cuts, the release features a remix by Romanian DJ and producer Lumieux. The EP opens with Measured By The Silence, a hypnotic, groove-led track that defines Valeria Croft's sound through subtle progression and layered detail. Floating within a vibrating minimal house framework, the track delivers warm, positive dancefloor energy across its eight-minute journey. Lumieux's remix flips the mood, pushing the arrangement into a tighter, more driving house direction while carefully reworking elements of the original into a fresh, high-impact version. On the B-side, Flex Your Body leans into an old-school minimal feel, enhanced by sensual vocal sampling and a darker, late-night atmosphere. The EP closes with Night Shift Funk, a deep, immersive track that pulses with nocturnal energy, unfolding slowly and methodically as textures stack and tension builds. Together, the tracks form a cohesive, dancefloor-focused release designed for extended DJ sets and late-night sessions.

Cinthie’s Collective Cuts sub-label of her 803 Crystal Grooves label welcomes the UK’s Black Eyes onto its roster this March with his ‘Hydrocity Reflex’ EP, comprised of four original soul drenched House Jams.
Cinthie’s 803 Crystal Grooves Collective Cuts welcomes Black Eyes with a fresh four-track EP that distils the Manchester-born, Berlin-based artist’s signature aesthetic into its purest form. Fusing deep, trippy and soulful house with a raw, Detroit-leaning sensibility, Black Eyes channels the influence of House music’s roots into rolling rhythms and fluid textures alongside shaped by his enduring love of water. Now firmly embedded in Berlin’s underground while carrying the grit of his northern roots, he delivers a release that feels both immersive and driving a natural fit for 803 Crystal Grooves’ dance floor focused sonic vision.
Opening the EP is ‘Can You Dig That Depth’, an emotive slice of House driven by saturated keys, soulful vocal lines, heavily swung drums and a buoyant bassline. ‘Pressure Malfunction’ follows, stripping things back to organic percussion, sweeping filtered funk loops and intricately processed spoken-word chants. The B-side begins with ‘Loyalty To Tha Deep’, living up to its name as it embraces classic Deep House sensibilities through choppy, airy chord progressions, hypnotic breathy vocals, fluttering melodies and slow-slung, crunchy drums. ‘Funky Oxygen’ then brings the release to a close, channelling the spirit of Motor City House with a refined blend of cut-up samples, shuffled percussion, jazzy keys and a snaking bass groove.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

Liepāja’s Elektrons is a contemporary electronic music compilation on vinyl, bringing together artists connected to the Baltic city of Liepāja. The LP features eleven original tracks that reflect the diversity and vitality of the local electronic scene — from deep techno and liquid funk to experimental ambient, IDM, and broken beats. Across the record’s two sides, Liepāja’s Elektrons brings together a diverse constellation of producers shaping the city’s electronic identity. The A-side features Cliché, Nejauši, Kristaps Puķītis, DJ KEDA feat. Ieva Dreimane-Sidare, BAZIITS, and NiklāvZ feat. Kenji, moving fluidly from intricate IDM textures and atmospheric experimentation to liquid funk rhythms and high-energy drum’n’bass. The B-side continues the journey with Ksenia Kamikaza, Eque, OMIROS, ALTER V and Existal, exploring deep and peak-time techno, minimal house and progressive sonic structures.

Seguim Records returns with its fourth release, SEGUIM004, presenting “Execute EP” by rising Argentinian talent Guile.

Execute EP navigates the space where tech-house precision meets progressive feeling, blending evolving textures with hypnotic energy. Across four tracks, Guile delivers a cohesive journey designed for long, club-focused nights.

The A side opens with “Execute”, the title track of the EP, a finely crafted cut driven by modulating basslines, acid-tinged riffs, and crispy drums. It’s followed by “Tren”, a deeper and more hypnotic track where chopped vocals and rolling rhythms guide the listener through an immersive journey.

On the B side, “Double U” sets the tone with a progressive edge, as stabs and melodic phrases carefully interplay, leaving space for each element to breathe while steadily building momentum. The EP closes with “Recycled”, a high-energy track characterized by its catchy melody and uplifting atmosphere, bringing the journey to a powerful conclusion.

Four dancefloor-ready tracks, crafted to push the night further.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

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.

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

VA – BLIS002 is a four-track sonic journey into the heart of mood-driven dub techno, curated by BLACKINSTOCK with a focus on emotional depth, spatial exploration, and stripped-back intensity. Featuring contributions from Noosa Sound System, Mac Rattana, and Chain Selector, this EP weaves together atmospheric yet rhythmically commanding cuts—perfect for immersive listening and nuanced set-building.

A1. Noosa Sound System – Trope (Build 2) opens the record with melancholic elegance, where dub textures are sculpted with warmth and restraint, setting the tone for inward reflection. A2. Noosa Sound System – Allways Rains follows with a shadowy, slow-burning progression—equal parts heavy and hypnotic, layered with raw emotional weight that feels both intimate and expansive.

Flipping to the B-side, B1. Mac Rattana – Om introduces a more buoyant, acid-tinged energy. Its pulsing low end and fluid motion give it a meditative yet tactile quality—inviting movement while maintaining a contemplative core. Closing the EP, B2. Chain Selector – Techno Dub delivers a deep, cavernous excursion—dark, refined, and uncompromising in atmosphere. With its textured delays and mounting pressure, it stands as a statement piece for those who crave depth over flash.

At once bouncy, raw, and emotionally resonant, BLIS002 is crafted for listeners who embrace dub techno as a language of feeling and form. Deep, suspenseful, and sonically purposeful—this is a release designed not only for the club, but also for the introspective spaces between.

BLACKINSTOCK is a division of MixCult Records

Limited edition

Carlo Troja, aka Don Carlos, from the Italian province of Varese, has been active as a DJ since the late 1970s. He
debuted as a producer in the late 1980s with the single "Alone" on Calypso Records (IRMA), which immediately became a cult hit on the global Deep House scene. His productions have always fused house rhythms with the sounds of
African-American jazz, sometimes bordering on disco, progressive, and electronic soul.
In 1992, his first album, "Mediterraneo," was released in the United States on IRMA USA, followed in 1993 by his
second, "Aqua," and several hit singles with the Montego Bay project with Stefano Tirone (Stone Inc.), all on IRMA
Records.
He reached the UK charts with Byron Stingley's production of the hit "You Make Me Feel," a remake of the classic
Sylvester song. He has performed in various European and American countries, as well as at the Ministry of Sound
and Turnmills in London.
In 2001, he released his third album, "Music in My Mind," featuring Kim Mazelle, Michelle Weeks, Taka Boom, and
Kevin Bryant.
A new album of re-edits of '90s-style songs, titled Livin' a Dream, was released in 2020, along with two compilation
volumes of Paradise House, both on IRMA Records.
With this new single, he continues to showcase his distinctive Soulful Paradise House sound, rooted in the
Mediterranean sound, as specified in the title.

Italian producer Nicodemo returns to Alzaya Records with You Are Sleeping, a five-track EP structured around subtle shifts in perception rather than narrative progression or peak-driven club dynamics.

Across three original tracks and two reinterpretations by Domenico Rosa and Aldonna, the record explores slowed temporal perception, delayed spatial response and the blurred threshold between attention and immersion, using restrained rhythmic pressure and diffused harmonic material.

The Goblin Walk is an invitation to trace the footsteps of the eponymous creature through five swampy, dubby, liquid techno interpretations from four different artists. Label head Caldera opens with the gently underlapping space chug of 'Today', followed by Traevor's 'Reef' which turns marimba into a dubbed-out bass meditation. Caldera then features again under his Loop LF alias with 'Tiz', which pairs spectral sonic sketches with whimsical melodies that drift and float as if in a gravity-free zone. Streetfaxx then unearths a long-lost 2013 Cologne track, its patient rhythmic progression untouched by the passing years, before ambient textures take centre stage in Nightwaif's 'Xmas1 (vocal dub)' as tape experiments float over deep sub-bass, caught somewhere between 1980s new age and modern ambient minimalism. A compelling, exploratory world of sound.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

For SIDE B's fourth release, an EP by Portugal's own DJ Dextro is in line. Ultra efficient, fine tuned techno is put under a microscope by the international mainstay for this record. Using high pressure in the low-end and creative textures to decorate the tracks, Dextro solidifies his place as a mainstay with a biting performance on home turf. Balancing his uncompromising sound with mystical synth work, Dextro opens 'Lost Frame' with the title track. In this A1, he rolls straight into a tunnel with flashing percussion and lurking melodies far out in the stereo field. Dancefloor focused but with a hint of mysticism, 'Lost Frame' creates a captivating ambiance to introduce the project with promises of earworm groove. Quick to follow up, 'Disclosure Of Who We Are' sees more space between the elements, creating a whipping effect in the rhythm and rich in sound design. Synth stabs cut through a booming kick, creating urgency in an EP that was lacking none to begin with.

This spirit is maintained on the record's flip to the B side - this time with an added bit of funk and shuffle. 'Liberdade' throws a vicious synth sequence forward for peaktime use and sees Dextro define his space with concentrated transitions and booming percussive hits. Swinging along with the occasional vocal sample to emphasize the obscurity, the producer maintains his delivery of razor sharp focus in all of his elements. To conclude, 'Panoplia Abstracta' settles things with an ambient, even meditative fourth track. Staying insistent with his kick, Dextro lets go of the wheel to drift his record from the body to the mind with progressive arrangement and soothing textures to see off a whirlwind of an EP for SIDE B records. Words by Noah Hocker

(Limited Edition 12" Silver Vinyl, 500 Individually Numbered Copies Worldwide) To mark an exceptional milestone, the legendary DJ and producer Phi Phi celebrates 40 years behind the decks with the launch of his brand-new label Mouvement Perpétuel and its inaugural release, the Forty EP, available in both vinyl and digital formats.

Early support from Forty Cats (Balance), Graziano Raffa (Sudbeat), Acid Pauli, and many more.

A true pioneer and iconic figure of the electronic music scene, Phi Phi has shaped generations of clubbers through his legendary residencies at At The Villa, Boccaccio Life, and Extreme, to name just a few. Throughout his career, he has deeply influenced the evolution of trance and progressive culture in Belgium, crafting a distinctive sound and spirit that continue to inspire today’s artists.

The Forty EP captures the very essence of this musical journey: three original tracks blending progressive house and melodic techno, where captivating harmonies and hypnotic rhythms intertwine to deliver a sound that is both timeless, powerful, and refined.

Pressed on a silver vinyl limited to 500 individually numbered copies, the record was unveiled during a special event celebrating Phi Phi’s 40-year career — making each copy not only a true collector’s item, but also a symbolic piece of his enduring musical legacy.

PHONOGENE RECORDS PRESENTS PHONOGEN EP

From the depths of the Mexican electronic music scene emerges a new chapter with its first vinyl release. PHONOGENE RECORDS officially opens its own chapter on the international underground map. PHONOGENE EP
The new chapter of PHONOGENE RECORDS comes courtesy of the Italian duo NU SOUL CITY, who deliver an EP that encapsulates the essence of the label: depth, precision, and a groove as subtle as it is powerful. With a sonic language that navigates between minimal, microhouse, and an innate European sensibility, the duo delivers an elegant, functional, and characterful work.

This release is further elevated by two exceptional remixes from Christopher Ledger, one of the most respected producers in the contemporary scene. Ledger brings his unmistakable touch: surgical rhythms, detailed sound design and a progressive construction that turns each reinterpretation into a masterpiece. It is a declaration of principles: a precise, refined and deeply dancefloor-oriented sound, where every element serves a purpose and every texture propels forward with textures of Dub House, Minimal House and Breakbeat.

2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker

A leader of the Portuguese wave in techno co-founding Hayes Collective while boasting acclaimed releases on Klockworks, Blueprint, and Soma, Temudo grabs the reins to take club music back to its days of audacity and risk taking. A more than promising up-and-comer turned modern reference, Temudo defends his reputation with a release showcasing depth in his various sonic universes and a deep understanding of his music's history. For its seventh release, Temudo's 'Meteora' is a logical next step for the club's direction - a sweet spot between dancefloor efficiency and enduring aesthetic.

Combining the intrigue of mental soundscapes with the reliability of imposing rhythm, 'Meteora' finds itself collected, expressing effect through restraint. The title track, claiming the EP's A1, is just that - a force of interweaving sound design and powerful micro transitions. Some believe the best techno records are able to express emotion and attitude despite its dissonant and machinelike nature; if that's the case then Temudo has mastered the craft. 'When I Grow Up', however, puts the focus back on the body. What sounds like warbling tape modulation over a percussive lead makes this record an addictively delirious ride from start to finish, fitting in with the track before while shifting to different priorities. Proving his versatility, 'Vrthng' at first seems reminiscent of the minimal Berlin style with a higher pace, but quickly progresses into something intensely euphoric. With experience and measure, an out of the box approach can really pay off, and the added emotion in 'Vrthng' is certainly a turning point in the EP. This mindset is clearly carried over in the project's conclusion : 'It's Always Past'. A surprising use of harmony and storytelling, this final chapter ends with Temudo sealing his style with confidence. The track is mystified by its chords, ending 'Meteora' with a question mark that leaves us in anticipation for what Temudo dares to do next.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

Emerging from the University of the West Indies (UWI) in Jamaica during the late 1970s, Main Attraction was a group of talented singers whose music captured the social and political energy of their time. With a sound that blended reggae and soulful ballads, their songs were both a reflection and a response to the challenges of the era.

The group originally featured Sonia Copeland, a gifted writer, arranger, and back-up singer, alongside Sharon Jones, whose velvet voice led many of their reggae tracks. They were joined by Allison Smith, Marjorie Smith, and Shahiba Ali, forming the group’s first lineup. As time passed, Michelle Thompson and Lileth O’Connor joined, further enriching the group’s dynamic harmony.

Main Attraction’s musical journey began with their debut recording, a cover of Once Upon a Time, produced by David Haughton under the management of Clayton Downie. Later, with Owen Palmer as their manager and producer, the group expanded their horizons, performing in cabaret gigs with the band Mind Benders and embarking on an overseas tour that showcased their talent in New York City. While Sharon Jones led reggae tracks like Jam Up, Allison Peart and Shahiba Ali brought their soulful touch to R&B songs, creating a rich, versatile repertoire that captivated audiences.

Jam Up was the group’s first original recording, composed and arranged by Sonia Copeland. Performed as part of the Reggae Song Competition during Carnival in 1978, the song is a rallying cry for unity and progress. With powerful lyrics and a Shaka rhythm, Jam Up calls on Jamaicans to come together, strive for economic growth, and uplift the nation collectively.

Sonia’s vision was clear: that Jamaicans from all walks of life would find inspiration in the song’s message, motivating them to improve their standard of living and contribute to the country’s growth and prosperity. Decades later, the lyrics remain just as relevant — a timeless call to action for social and economic strength.

Hold this record in your hands, let the music play, and feel the enduring power of reggae music to transform, uplift, and connect.

Efde's first release on Voyage Direct. Here he gets a chance to showcase his trademark sound on an expansive, four-track E.P for the Amsterdam-based label.
Some may be familiar with Efde's work through his occasional 12' singles for Nordik Netrecords and Soweso, where he distilled a variety of influences - think dreamy, ultra-deep house, the Chicago bump of Chez Damier, and the sci-fi pulse of Detroit - into tracks that had a distinctive vibe all of their own.

My Bleep' is arguably his most stunning production yet: a spine-tingling re-imagining of Detroit futurism built around sparkling, intertwined melody lines, dusty drum machine rhythms, hissing hi-hats and throbbing, analogue bass. While a thing of rare beauty, it also comes blessed with moments of sweaty percussive intensity, with stacked snare hits that increase in energy as the track progresses. The original's inherent beauty is emphasized further on the accompanying Ambient Mix', which recalls the glory days of Pete Namlook's FAX Records in the early 1990s.

There's more far-sighted dancefloor futurism to be found on the flip, where the spacey chord progressions, sprightly synth-bass and restless rhythms of Just Did It' capture the spirit of both the Motor City, and the classic UK techno-funk of Dave Angel and Luke Slater. A fine EP is completed by the ultra-deep shuffle of CMP135', which successfully draws on Efde's love of bumpin' U.S deep house whilst retaining the intergalactic sounds that are such a key part of the Dutchman's club-ready productions.

El dúo NX1 colabora con Sunil Sharpe, Oxygeno, Rommek y Unhuman en cuatro tracks para la octava referencia de su propio sello.

Nexe Records marks its return by reconnecting with the core idea that first defined its identity — being a true nexus between artists, techno lovers, and the label’s vision. NX1 leads this new chapter with Core VA I, a project built around four collaborations with producers who share the same commitment to authenticity and forward motion in techno. This first volume sets the tone for what’s to come, creating a dialogue between distinct voices while preserving a unified aesthetic.

Opening the record, NX1 and Oxygeno pay tribute to loopy, hypnotic, and driving techno — groovy yet serious, perfectly crafted for deep and focused dance floors. Following up, the collaboration with Rommek delivers an intense, bleepy, and atmospheric track, infused with subtle sci-fi undertones and tension-filled layers that evolve naturally.

On the flip, NX1 and Unhuman explore a more classic but forward-looking take on techno. Clean percussion, dynamic progression, and precise energy shifts give the track a refined sense of movement, balancing power and clarity. Finally, Sunil Sharpe joins to close the release with a bold and energetic piece that captures the raw essence of the club — rhythmic, metallic, and charged with movement.

Overall, Core VA I stands as a statement of Nexe Records’ renewed identity: connecting artists through a shared vision of pure, functional, and evolving techno. Each collaboration offers a different voice, yet all converge in the same pulse that defines NX1’s sound and philosophy.

Aiden Francis steps up with Floral Oceans, a four-track trip of melodic drive and low-end punch. Club gear tackle with a ton of attitude!

Opening with the title track ‘Floral Oceans’, he sets the tone - sweeping progressive synths meet low-end power in a piece built for wakes and peaks alike. Layers fold and rise with effortless tension and release, guided by vocal hooks that hit straight to the chest. The momentum rolls straight into ‘Nelumbo’, where a burst of piano and infectious melody bring a euphoric lift, riding atop a taut groove that demands movement without losing emotional weight.

Flip the disc and ‘Stunnalina’ pushes harder still - a rush of psy/goa-inspired energy, driving drums and layered arps that pull the floor into orbit. Then onto B2, Hybrid Man step in to rework ‘Stunnalina’, steering the original thrust into their own world: a bouncy, analogue workout glowing with resonant growls and a rolling rhythm. Yum!

Life blooms through gentle seasons, and every season needs its moment on the floor.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.

A deep journey into the sound abysses of the night, invoking hidden energies, opening a ritual portal to the core of the seal and the ritual itself.

This compilation brings together diverse artists who explore a fusion of dark techno, industrial environments, ritual textures and pulses that evoke vast underground spaces. The idea is to generate a state of technical-ceremonial trance: vinyl becomes a physical talisman, object of worship, beyond a simple club track.

Side A opens with darker rhythms, synthesizers that resonate like funeral bells, mechanical percussions that hit like ancestral machinery. As it progresses, the journey intensifies, layers of bass that rumble like mine hulls, reverberations that expand consciousness.

The B-side takes flight towards the ethereal and the expansive: distant melodies, ritual echoes, processed voices that look like invocations, culminating in a track that sounds like the closing of a rite, the day that meets the night.

9th release from the Madrid-based label Kunda Records.

This time, it features the participation of “El-y”, aka Techno, and the well-known French artist AcidUPDub (co-founder of Dune Records, 2008).

On the A-side, we’re treated to two heavy-hitting tracks:

- “Andromeda”, a dancefloor destroyer with an intriguing rhythmic progression that builds into a climax of sinister melody, leaving a repeating echo resonating in our heads.

- “Torpedo”, a projectile of pure hypnotic techno.


On the B-side, we find two aliases behind which stands the same person: José María Moreno Vega (Granada, Spain):

- C-system, presenting “темный век” (Dark Ages), a pure Tekno track with pounding kicks and a martial rhythm.

- And Spectrums Data Forces, bringing us “Revenant” and “Space Crucifix”. Both tracks will take us on a spacey, robotic journey full of electro rhythms and broken beats.

Straight-up bombs!

FJAAK return with FJAAK014, a four-track EP packed with their signature analogue energy, funk-driven grooves and unmistakable Detroit-inspired synth work. This release is raw, percussive and unapologetically dancefloor-focused: Across four tracks, FJAAK once again prove why they remain one of the most vital voices in electronic music. The EP kicks off with 'Soulfriction', a cut built on a groove where power house meets jungle. It's a pure body-mover, all pulse and propulsion, with layered percussion that nods to classic warehouse sets while pushing things forward in true FJAAK fashion. On 'Run To Me', the duo bring soulful vocals in, weaving them into a driving rhythm that fuses housey breakbeats and thick analogue grooves. The result is a warm, kinetic blend of Detroit flair and modern funk sensibility, tailor-made for peak-time dancefloors. The B-side starts with 'Keep The Balance', a track that strips things down a touch. More introspective, but still locked into a deep, funky flow. It's mellow without losing movement, full of crisp drums and glowing chord progressions that let the groove breathe. Closing the EP is 'What's My Name?', a true FJAAK-style banger: Punchy kicks, sharp vocal cuts and a commanding low-end give it that warehouse edge. It's a punchy blend of groove and raw-energy, making it the perfect club weapon. The Berlin duo has been sculpting their sound identity with hardware-heavy, genre-blurring releases that span techno, breakbeat, house and jungle. With FJAAK014, they further refine their groove-forward vision, blending soulful vocal textures, infectious breakbeat energy and timeless Detroit-style synth work, making this EP another bold statement from a duo that remains on the frontlines of electronic music evolution.

A central figure in the contemporary scene, Setaoc Mass delivers five tracks of intimidatingly dystopian techno for Fuse's next release. Synth-heavy and melodically focused, the UK native brews moody tones over his signature percussion to provide a touch of improvisation for balance. In Static Rush, genres and influences collide under the persistence of concrete club music.

A haunting synth sequence opens FUSE10 with 'The Sky Above', showcasing Setaoc Mass's intentions for the rest of the release. Playing with decay and sifting through shakers, the seasoned producer fills the spectrum with constant tension throughout the entirety of the A1. In 'Shaded', whipping white noise over sixteenth synth notes, the pressure rises and falls with whistling accents on the transitions. Keeping the dancer on their toes with a lively arrangement, Setaoc Mass keeps his hands on all elements to maximise the record's progression. Moving to the B side, Feeling blends harmony and robust tone. Claps thunder through the track's warehouse acoustics, complemented by a sharp lead cutting through a heavy low end. The structure remains elusive and quick like the previous two, and it boasts a full, grinding sound destined for peak-time sets.

The end of Feeling then dips down into a two-track journey of ethereal sound designs and soft melodies. Keeping the rhythm swinging, Flutter By settles the atmosphere with an IDM-inspired iced synth and pads. This change of emotion pushes depth into the record, providing a welcome surprise in Static Rush. Setaoc Mass then signs off with the final contribution to the EP, Overload. Pushing further than ever into melody with hints of Detroit electro and a complete absence of a kick, the producer teases a slithering arrangement that ends his record with a bold conclusion.

Feel Fly, the alias of Perugia-based producer Daniele Tomassini — a visionary force in Italy’s electronic music scene and co-founder of Afro Templum — debuts on Taste Rec with his new EP.
Titled Festina Lente — an old Latin saying that means "make haste slowly" — this release invites listeners to surrender to dance, movement, and the flow of energy in a timeless space, untouched by the idea of an ending. A space that feels magical.
The EP is sincere and atmospheric, moving through the artist’s deep musical roots: progressive rhythms, cosmic moods, and a touch of lightness drawn from Italian dance culture.

The A-side opens with the title track: spacious arpeggios and dreamy textures create a soundscape that invites you to get lost in the music — a tribute to the carefree spirit of the ’90s.Techla follows with a more minimal, introspective vibe. Its hypnotic bassline feels like a journey into the unknown.
The B-side starts with Somo, a bright and catchy track full of sunny melodies and feel-good energy, evoking Italo disco moods. Finally, Flusso Libero closes the EP with elegance and depth. It features a unique vocal sample that stands out in Feel Fly’s style, tying everything together with a nod to ’90s nostalgia.
This is a musical story that blends sacred, dreamy visions with raw rhythmic sequences and warm, synthesized basslines.
A futuristic soundtrack for an ancient ritual.

Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’.

Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove.

‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

Tom Rowlands will play a rare solo DJ set at Glastonbury's Stonebridge Bar on Friday 27th June, as part of Bugged Out's 30th Anniversary celebrations.

A favourite selector for many within the underground, UK-born, Ibiza-based Miller has built a reputation for his hypnotic, low-end-led productions and seamless ability to weave obscure rhythmic patterns into immersive DJ sets. Founder of the Real Gang collective, he honed his craft as a resident at Ibiza institutions The Zoo Project and Ibiza Underground, where his dynamic, vinyl-focused style earned him recognition as a key player in the island’s grassroots scene. This natural progression has since led to the launch of Tomodachi, his new club, an intimate space that refl ects his artistic ethos and evolving infl uence on the island.

Harley Maxwell, meanwhile, brings a raw energy to the project, blending his sharp vocal delivery and lyrical edge with Miller’s meticulous production style. Their collaborative debut at fabric, during Miller’s all-night set, showcased a shared ability to push conventional boundaries, as they provided a fi rst glimpse into the music that would in turn become ‘Caviar’.

The EP opens with the title cut, a stripped-back yet infectious roller that glides between deep basslines, textured percussion, and subtle melodic fl ourishes. ‘How It Runs’ follows with its sharp drum work, zippy synths, and a playful groove built for the dancefl oor. Rounding off the release, the vinyl-only ‘Dreaming Experience’ sees Miller step out solo as he delves into deeper territories with hazy atmospherics, creating a tripped-out late-night journey. Arriving at a pivotal moment for both artists, their ‘Caviar’ EP signals a bold debut on FUSE – a label celebrated for its commitment to forward-thinking club music.

- Originally released in 1993, 'The Brown Album' marked a significant evolution in Orbital's sound - and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time.


- Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's It's a Fine Day. The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged.


- 'The Brown Album' 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten year

- The Brown Album' 2CD includes a 2nd disc of rarities, including the full 11:09 version of Halycon and the 13-minute Underworld mix of Lush.

Long kept in the shadows, "+ Ou – 8000" is a rare gem of the French musical avant-garde, born from the meeting of three
composers at the peak of their inventiveness. Initially intended as sound illustration, this album crosses the boundaries of
library music, space jazz, and electronic experimentation, with a freedom and boldness that today give it cult status.
Teddy Lasry, an iconic figure from the MAGMA universe, has always moved between jazz, progressive rock, and electronic
music. A saxophonist by training, he explores here synthetic and spatial territories with striking modernity.
Francis Mercier, discreet yet remarkably effective, is a sound craftsman who left his mark on many library music records
in the 1970s. Here he delivers precise rhythmic textures, tense atmospheres, and a minimalist groove mastery.
Christian Perraudin, a chameleon composer bridging academic music and film scoring, brings his cinematic touch—
floating melancholy and sci-fi tension. A true artisan of sonic ambiance.
Boldly visionary, + Ou - 8000 is an invitation to active listening, a journey into the heart of a fascinating sound laboratory.
This unprecedented vinyl reissue is a unique opportunity to (re)discover a crucial record that remained out of reach for far
too long.
Limited edition – for lovers of rarities, analog synths, and genre-defying musical exploration.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Japan’s SUDO return to Drumcode with ‘We Are Free’, following their landmark 2024 debut ‘Real World’ Last summer brothers Isao and Takashi aka SUDO gifted Drumcode one of the most inspiring releases we’ve heard in recent times with ‘Real World’. Inspired by Underworld’s incendiary ‘Rez’, the EP was the sound of two producers pouring all their passion and shared musical history into a work that’ll be remembered for years to come.

The release peaked at no.1 on Beatport’s Release Charts and saw a follow up collaboration with Bart Skils ‘Nexus’ out later that year on Drumcode. ‘We Are Free’ continues SUDO’s emotion-led and timeless approach to techno, crafting a four-tracker inspired by the concepts of “freedom, divinity, memory and transition”. The title track genre-hops between electro-edged techno, silky ambient textures and breakbeats. Isao says: “We wanted to express in a powerful and explosive way one of our purposes on the dancefloor – a time of celebration, and freedom from restrictions.”

‘Elysium’ is a transcendental slice of techno that juxtaposes tough industrial rhythms with a stunning break that was inspired by a children’s choir Isao heard one day at Berlin Cathedral. “It took a long time to producer with many patterns until we were satisfied,” Isao shares.

“It was a real process of immersing oneself in the hypnotic groove and finding divinity.” Initially inspired by watching Bart Skils play a NYE 2025 set in Argentina, ‘Lost in Paradise’ is led by a delicate Latin vocal and crisp sun-dappled beats, before stepping up the pace in the second half. “As the production progressed, we were led to a wonderful result with the track’s vocal, a tribute to one of our biggest influences – the untouched nature of Ibiza and the vibes of the light and beautiful people that flow there.” The EP winds down with ‘Horizon’, a simultaneously beautiful yet bittersweet hymn that signals the end of the party.

Drummer and Composer David Lee Jr.’s stunning and rare album Evolution (1974) blends the deep experimentalism of John Coltrane and Sun Ra with the pulsating second-line and parade rhythms of New Orleans to create a stunning sonic and rhythmical tour de force. In a lineage of incredible New Orleans drummers that includes James Black, Idris Muhammed, Zigaboo Modeliste of The Meters, and stretching back to Earl Palmer and Baby Dodds, David Lee Jr. stands out for his fire, experimentalism and an out-there-ness like no other. 'Evolution' is a super deep, ‘lost classic’ radical and groundbreaking deep spiritual jazz album. Originally released in New York in 1974 (400 copies only ever pressed!), ‘Evolution’ is an extraordinary one-off solo album, pressed on the artist’s own Supernal Records, a record company whose slogan ‘seeking creative progress’ and dedication ‘to peace and freedom’ clearly displayed artistic intent over any commercial or market-led forces. David Lee Jr was born in New Orleans and the deep experimental drum-compositions featured on ‘Evolution’ are as rooted in this southern city rhythmically as they are in the spiritual and metaphysical musical ideas of Afro-Futurist pioneers like Coltrane, Sun Ra and others. In the early 1970s Lee Jr. headed off to New York, playing in Roy Ayers’ Ubiquity and later immersing himself in the thriving loft deep jazz scene playing with Leon Thomas, Lonnie Liston Smith, Harold Alexander, Charles Rouse, and recording for a host of seminal deep jazz labels including Strata-East, India Navigation and Flying Dutchman. Today 'Evolution' remains one of the rarest and heaviest of all deep and spiritual jazz albums ever made. One-off super-limited edition magenta colour vinyl, newly digitally remastered, complete with new reproduction artwork, sleevenotes and download code.

Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’.

Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove.

‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

Tom Rowlands will play a rare solo DJ set at Glastonbury's Stonebridge Bar on Friday 27th June, as part of Bugged Out's 30th Anniversary celebrations.

Known for his ability to create captivating, emotionally charged techno, Jonathan Kaspar eventually returns to Cocoon Recordings with his third contribution Twofold Split. One, yet simultaneously two releases that once again showcase his extraordinary talent through condensed techno with a pinch of trance, weaving together driving rhythms and atmospheric textures in a way that feels innovatively progressive.

Drifting hypnotically, this might be the most fitting way to describe what Jonathan Kaspar unfolds before us here. The rolling percussion grooves seamlessly intertwine with the siren's spectral tone, gradually blending into the alchemy of ‘Yah’ as it erupts into the mix. By the time the peak arrives, there’s a raw intensity in the air - the track seems to bend and stretch then drills and twists until it cracks, but never loses its sense of purpose and remainsanchored in its deep, pulsating groove. On the flip side, ‘Silver Lines’ stands as a counterpart, offering a contrast in both sound and atmosphere. With its minimalist arrangement, the track first nestles in gently, lulling the listener into its world—only to tighten its grip as a synth sequence gradually opens its cut-off filter, slicing through the calm, drilling into the mind, and shifting the mood from tranquil to tense.

Known for his ability to create captivating, emotionally charged techno, Jonathan Kaspar eventually returns to Cocoon Recordings with his third contribution Twofold Split. One, yet simultaneously two releases that once again showcase his extraordinary talent through condensed techno with a pinch of trance, weaving together driving rhythms and atmospheric textures in a way that feels innovatively progressive.

Rooted in a minimalist rhythmic structure, ‘Power’ takes us in a new direction, steadily building momentum as its energy billows upwards, with the intensity never wavering throughout. A large, dented, tinny tuba sounds imposingly as Jonathan blows louder and louder into the old thing, its raw, metallic tone instantly commanding attention. What an explosion in the break, leading us into a wild, almost chaotic energy, before Kaspar’s meticulous attention to detail ensures that the shimmering synths feel perfectly placed, guiding us to the absolute freak-out moment. After all the insanity, Jonathan Kaspar takes us by the hand and leads us into a melodic, trancy after-hours mood with “1993,” bringing a sense of release after the wild ride of the previous tracks. What a successful closing track to this outstanding release. With its melodic trance influences, it offers a soothing, almost nostalgic atmosphere, bringing a sense of calm and closure, a perfect moment of introspection and euphoria as
the EP winds down

Acid House! Detroit House! FUTURE of the FUTURE ... or some things simply cannot be better summed up in a few words: Where PPL get massively acidized on the club's "Level 303" floor and go platinum on another smokin' TB303 level with UNDER WATER's Psycho Thrill release debut.

Envisioning an idealistic form of classic CHI rhythms and slammin' House Hallucinates, in the highest possible form, UNDER WATER acts there where boundaries are invisible, progress is limitless and the beauty that is inside this Muzik may be finally understood by all at once. So, do U still believe in ACID JACK?!!

2026 Repress

For their debut EP on Tectonic, Beatrice M. drops four deep, dubby cuts bringing weighted bass energy together with techno sensibilities and advanced percussive manoeuvres. Elegant but powerful tracks built for sound systems and curious ears!

Midnight Swim is an ode to the “softer” club sounds, repetitive aquatic grooves that remind Beatrice of their go-to sport: swimming. No phones, just back and forth in the cold water, settling into a mechanical groove. The opening track, Oval, carries its title from the appreciation of soft edges, little distortion, minimal rhythmic pattern.

Upon hearing Pinch’s tune 136 Trek, (itself a nod to Zinc’s 138 Trek), Beatrice decided to name a tune 132 Trek, to continue the lineage of their musical heritage. The tune was already called Trek because it was made after moving from France and spending their first months in London, and realising “everything is a bloody trek”!! 

The EP’s title track is about warm-up music and enjoying the earlier hours of the party - a quick immersion and then time for bed, rather than banging club tracks all night long. Beatrice likes to show up early at the club, watch it fill and then leave as it packs out. Midnight Swim is a dip into a roller. 

The last tune of the EP features Sub Basics, the first artist to have a vinyl release on Beatrice’s own label, Bait, and one of their biggest musical inspirations. Sub Basics’ immersive progressive sounds fit simultaneously in the deep techno world and the dubstep world. A beautiful in-between.

Agent By Default In Hybrid Systems' is a deep dive into today’s and tomorrow’s society. Across four tightly constructed tracks, cinematic-surrealist musician and DJ JessyJiggy reflects on how mankind and machine-driven systems coexist and evolve. We act, respond, and adapt as agents by default caught between instinct and structure. Built for movement yet rooted in observation, every progression feels less like a command and more like a suggestion inviting listeners to negotiate their own place inside the grid.

This poetic concept translates into music where analogue and digital tools merge into a hybrid sound. Compositions carry an almost automatic rhythm that drives motion while sound design elements subtly reference modern technology. Raw, bass-driven, minimal and techno showcase the breadth and progressiveness of Rotterdam with its brutalist spirit embedded in every detail.

Carefully mixed and mastered by Simon Lescure, who works at the intersection of sound design, club culture, and contemporary art, the record is optimized for a wide spectrum of sound systems while offering a distinct, full-bodied experience on the dance floor. With his vision of music as a system of memory and tension, a way to hold time and transmit presence, raw energy is brought into focus, shaping JessyJiggy's signature sound with clarity, weight, and intent.

A work committed to pushing boundaries and contributing something lasting to the electronic music landscape, this record is crafted to become a cult classic.

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.

Pour Me, My Friend, The Nectar of Dionysus PCM004 is a vibrant four-track exploration of deep tech house, crafted with elegance, groove, and an undeniable sense of joy. Rooted in musicality and designed for the dancefloor, this release blends warm, jazz-tinged elements with modern production finesse, offering a rich and uplifting listening experience from start to finish.

On Side A, A1. Andrey Djackonda – Never Disappear and A2. Deep District – Back Room introduce a welcoming atmosphere built on smooth progressions, refined hi-hat work, and dreamy pad textures. The grooves are fluid and inviting, supported by strong basslines and a playful spirit that sets a positive tone from the very first moments — perfect for drawing people onto the dancefloor with ease and charm.

The B-side raises the intensity. B1. Anirr – Still Trying to Be Perfect and B2. Andrey Djackonda – Refresh shift into a more driving, peak-time energy, where tighter rhythms and increased momentum take control. These tracks carry a confident push, designed for those moments when the room is fully alive and the energy calls for a stronger, more direct connection.

Balancing warmth, groove, and power, PCM004 is a well-rounded and versatile EP — an essential addition for those who appreciate house music in its most expressive, dancefloor-ready form.

Panna Cotta Music is a division of MixCult Records

2026 Repress

Kerouac presents a captivating five-track vinyl-only EP on Murmurations, showcasing groove-rich basslines, intricate percussion and deep rhythmic textures into a dancefloor-ready package. The A-side kicks off with "Gravity", a hypnotic excursion of looping stabs and rolling percussion, before sliding into "Active Meditation", a deep, driving cut built on smooth stabs and an elastic bassline. The flip opens with "Official Line", a tumbling low-end roller with layered vocal chops and crisp percussion. "Chugs" lives up to its name, a relentless groove packed with vocal hooks and a thick, chugging bass. Finally, "Too Sea Bee" winds things down with warm chord progressions and a funky, laid-back vibe that leaves a lasting glow.

AOP 11 Welcomes the Italian GNMR to the family for another psychedelic offering with the 'I Love You EP'

A1 opening with the title track I Love You with a no nonsense tribalism, taking us stumbling through a muddy Peruvian forest trip - after loosing & finding our minds

A2 follows with the deep and introspectif Sunrise Reprise. Slower broken drums guide, accompanied by moody groans and a nagging synth that weaves through the vines and trees.

B1 Bunda returns to the tribalism for a gated giddy dance ritual - clatterings drums, stuttered chants and rhythmic movements.

B2 rounds off the EP with Constantinople From The Mindset. Cleverly programmed loose percussion and trippy chants, a chundering bass and a solid kick, the track progresses craftily and confidently, gradually arriving at a euphoric and climatic.

Spiritual Rhythms by Mix’Elle, the fourth release on Portuguese label angel, is particularly special for a couple of reasons: it’s the artist’s first record (a true triumph at that) plus she is a resident at the night series that originated the label itself. It’s truly an all-connected type of affair. This EP taps, in a personal and intentional way, into the very foundations of jungle and drum n bass, taking us on a soulful ride permeated by Mix’Elle’s influences while incorporating her artistic vision, one that was shaped through hours behind the decks in underground drum n bass parties for well over a decade.

The record opens with title track ‘Spiritual Rhythms’, a 174 bpm mantra-like roller clocking in at 6 minutes with the textured pads and the realness you could expect from a Rufige Kru classic. A fat sub underpins it, urgent spoken words remind us what we’re here for: ‘it comes from the drum. and the drum is something spiritual’ as congas play briskly into the groove.

Things slow down significantly for the second track, ‘Angel nights drop tha bass’ - a signature floaty pad and a drum break maintain a steady continuum. A hopeful chord progression is offset by the sharpness of the drums, the bass gluing it all together with the help of an archetypal stretched vocal. Everything is in its right place - a genre veteran is very clearly at work.

‘Touring’ features a mischievous low end, as if a jazzy double bass were played by a dub experimentalist. The funkiness is infectious, with off-tempo string stabs and a mutating filtered breakbeat that feels alive - a vocal pad chants throughout, adding a layer of wide-eyed enchantment.

Percussion never falls short in this record, and the closing track begins with nothing but a shaker, toms and congas - evolving to an elegant, dreamlike yet crisp piece, led by a prominent bassline, its washes and wobbles re-arranging our chakras. Spiritual Rhythms indeed.

angel is a label run out of Lisbon by Violet. A sister label to naive, angel tries to portray the party series of the same name - a bass-led, smoke-drenched celebration where the main room is dedicated to dnb and the second explores adjacent stylistic fringes like dubstep, trip hop, dub or jazz.

"Summer Jam" is back! A long-awaited repress of this powerful and joyful tune described as "acid pied piper", with new artwork and new flip-side. EM Records is very happy to again bring you our favorite tune from the artist known as Tapes, here in a 10-inch vinyl/download format that, with its good vibes, positivity and major-key delightfulness, will rescue you from any doldrums you are experiencing, whether personal, societal or cosmic. "Summer Jam" is a solo recording from 2019, but it soars over the worries of the year, any year, with an up- lifting rhythmic lilt, a positive tonality, non-annoyingly catchy melodies and some lovely sonic textures. There's something here for fans of bass music, mid-80s-and- beyond electronic music, and pure toe-tapping good times. There's a sweet chord progression and background drift in the title track that are particularly pleasing, and the flip-side is a very satisfying "acid" live version with his ally, 7FO, that will lovingly catapult you to another major-chord heaven. The sun can shine anywhere, anywhen, so enjoy!

Following their mesmerizing debut Tradition, CHO CO PA CO CHO CO QUIN QUIN return with Correspondances—a 7-inch release that drifts effortlessly between organic textures and delicate electronic landscapes. Expanding on their signature blend of dreamy synth work and nylon-stringed warmth, the trio refines their approach with a more mature, immersive sound that feels both nostalgic and forward-thinking.

The A-side, “Adan no Umibe” (Adan’s Seashore), opens with a soft, relaxed vocal delivery reminiscent of Haruomi Hosono’s solo work, floating over a gentle groove of nylon guitars and spacious synths. It captures the essence of a quiet shore, where melodies ebb and flow like waves against the sand, infused with the scent of Okinawa.

The title track, “Correspondances,” embraces an airy, ambient minimalism. Whispered vocals glide over sparse beats, floating basslines, and interwoven birdsong—blurring the lines between nature and sound.

Closing the record, “Koe o Kikasete” (Hear Me Your Voice) introduces a subtle rhythmic pulse, with its soft vocal refrain weaving through a beautiful chord progression, layered with nylon guitar and delicate electronic textures. The birdsong theme resurfaces here, echoing the lyrics and enhancing the immersive, weightless atmosphere.

While rooted in the warmth of vintage Japanese pop experimentalism, Correspondances carries CHO CO PA CO CHO CO QUIN QUIN’s sound into new, refined territory.

This is a record of quiet yet deeply expressive beauty—an invitation to pause, listen, and drift.

Like a metaphor for life, the progressive sounds of « Tree of Life » evoke the image of a tree that never stops evolving and growing. With its deep and captivating melodies, Nurse Erica takes us on a cosmic journey to the outer edges of Trance and Progressive House.

As its name suggests, « Being Trance » brings together all the elements of a Trance classic: soaring melodies, spacey leads, and groovy percussion. It’s the perfect introduction to the first side of the vinyl, a metaphor for the birth of the tree.

« Do My Stuff (Ears in Space Mix) » picks up right where the opening track leaves off. Striking a balance between dreamy and nostalgic, its deep bass and driving percussion lay down the rhythm, while the airy melodies scatter like autumn leaves.

With « Take The Heartbreak », Nurse Erica explores a universal rite of passage. The first half of the track, broken and introspective, gradually gives way to a brighter second half : a glimmer of hope for every broken heart.

And with spatial vocals and cosmic atmospheres, what better way to close the journey than with the title track « Tree of Life » ? In this piece, Nurse Erica blends Trance-infused melodies with Progressive House percussion, enriched by luminous, nostalgic piano notes, like the blossoming of a tree. Deep.

Swales, the UK - based producer known for his seamless blend of house and groove - driven textures, joins forces with the enigmatic French artist Doublure to deliver “Connecting Realms”, a vinyl release that bridges two eras of electronic music.

This record i s a tribute to the pulsating rhythms of early 2000s electronica, infused with the hypnotic drive of progressive house. Doublure’s nostalgic yet forward - thinking sound design weaves through Swales signature deep and melodic touch, creating an atmosphere bot h euphoric and introspective. A must - have for selectors and listeners craving a fresh yet timeless dancefloor experience.

Distributed by Lirica Archives

Mastered by Julian drake

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

REVOLT hits double digits with a special release from Athenian underground veteran Other Reality—aka Alex Psaltakis—a figure deeply rooted in the rave culture of the ’90s. His journey began in the late ’80s via the Amiga demoscene, inspired by the raw energy of acid house and hardcore breakbeat. By the mid-’90s, he was DJing at raves, clubs, and open-air festivals, fueled by a passion for psychedelic trance, ambient, Goa, and experimental acid rock. His dedication to the underground has remained unwavering ever since—fed by records, synthesizers, and a deep love for sound exploration.

Still Thrill EP is a 4-track release shaped by a wide musical range, bringing together elements of Detroit techno, trance, house, Goa, ambient, and progressive. More than just a debut on the REVOLT label, this is Other Reality’s first-ever release on vinyl—a deeply personal milestone shaped by years of dedication to his craft and the support of close friends and peers.

Crafted with a mix of hardware and software, the EP draws from years of studio sketches and archived musical ideas. A hidden detail runs through it: a fragmented sample from a rock track that deeply marked Alex in the past—a line that never fully completes in the track.

Each piece carries emotional weight and narrative depth, blending analog warmth with timeless dancefloor energy. The EP moves effortlessly through moods—nostalgic yet forward-looking, playful yet deeply personal.

Ohm ’95—with a name that subtly hints at the Goa trance soul—delivers acid basslines, trance elements, and dreamy pads. A transcendental, unifying experience. Kinda Free pulses gently like a groovy caress at dawn, with dreamy layers, steady rhythm, and acid touches that feel both tender and elevating. More Than Advice embraces movement, disorder, and acceptance, rolling through intricate percussions, hypnotic loops, and a cosmic atmosphere. Emotional and raw. Still Thrill closes the EP with slow-motion energy, submerged in flowing textures and a fluid, nostalgic groove.

Vinyl only. Limited edition.

Italian producer Deyayu delivers a powerful new EP on Party Tricks, channeling emotion and subtle melancholy into four striking cuts. Blending elements of progressive, deep, and tech house, the release is designed for late-night energy and golden hour moods, capturing the feeling of first light, where rhythm meets reflection.

Kiria Records proudly presents "Vintage A EP", a collection by Direkt that embodies the essence of modern groove with timeless and elegant influences. This EP explores different sonic shades, perfect for enriching any moment of a DJ set.

On side A, we have "Vintage A", a track that stands out for its sophisticated groove and immersive structure. The blend of delicate synths and sharp percussion creates an atmosphere perfect for lighting up the dancefloor and taking listeners on a hypnotic journey. Following that, Cally’s remix delivers an innovative and minimal reinterpretation of the original track. With tight rhythms and subtle nuances, this version captivates the audience and adds depth to transitional moments.

On side B, "Best Kick Forward" opens with a powerful rhythmic drive, characterized by strong basslines and an engaging progression, making it perfect for the most dynamic moments of a set. Closing the EP is "Fragments", a track that plays with atmospheric elements and refined grooves. Intricate percussion and ethereal melodies intertwine to create a finale that leaves a lasting impression.

With "Vintage A EP", Direkt and Kiria Records deliver a must-have musical chapter, crafted for DJs and collectors seeking unique and uncompromising sounds.

BB. angel bends the clock with present days, present times, a lucid transmission of trance-infused progressive motion. Echoes of forgotten futures and glitching presents bleed through each phonogram, as rhythms stretch and fold like time seen through a cracked lens. The dancefloor becomes a temporal loop, always arriving, never staying. Bliss Inc.’s remix dissolves the frame further, a shimmer of parallel timelines collapsing into one. A portal in wax, a memory that hasn't happened yet.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Oath’s latest release takes flight with Elfenberg’s signature proggy, euphoric sound. Known for his expertly crafted, otherworldly grooves, Elfenberg seamlessly blends trance-laden progressive house and techno, delivering dancefloor-ready yet deeply immersive experiences.

His new EP, *Ritmo Paradiso*, showcases his signature style while exploring fresh sonic landscapes. The title track pulses with deep bass, evolving percussion, and acid-tinged melodies. *Vasastan* shifts into IDM territory, layering swirling synths over a hypnotic rhythm. *Styggforsen* builds on acid-driven grooves with delicate pads and intricate keys, creating an endless sense of immersion. Closing track *Thank You For Your Patience* ups the tempo, featuring rolling basslines and dynamic breaks for an electrifying finish.

As always, Elfenberg crafts a journey of rhythm and melody, and Oath is thrilled to share this latest chapter.

Diesco & Vince Void's Always Delivering EP arrives as a reverent tribute to the golden age of early 90s house, drawing inspiration from progressive, euro house, and other foundational genres of the era. A perfect balance of nostalgia and forward motion, the record reflects on the transformative soundscapes that once shaped the dancefloor, while embracing the present and future of electronic music.

El Tigre opens with a hypnotic rhythm, oscillating between balearic warmth and tribal beats. The sensual Spanish vocals weave seamlessly with the track's immersive groove, inviting listeners to lose themselves in a shadowy jungle of sound.

Untitled C takes things to a higher, more electrified level—bleepy acid lines, fat organ riffs, and punchy drums create an undeniable dancefloor energy. It’s pure euphoria, distilled into every beat.
8-Bit draws on the video game soundtracks that were an indirect inspiration for both artists during their youth. A fusion of breaky rhythms, groovy basslines, and uplifting piano chords gives the track an energetic feel.

Closing the EP, Jobby brings the energy to a soaring crescendo, combining euro house with a melancholic synth riff that takes you back to the emotions of early rave culture. It’s a perfect track to close, in a perfect way, a really intimate night.

With Always Delivering, 24 Seven Records signals the start of something fresh yet rooted in the past. It’s a celebration of where we've been, where we are, and where we're headed—true to the spirit of dance music.