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Kim Gordon hat Kunst und Noise über Jahrzehnte immer wieder neu gedacht - und dabei nie an Schärfe verloren. Vierzig Jahre nach ihren Anfängen wirkt ihre Vision noch immer provokant. Dieses Abenteuer setzt sie mit ihrem dritten Soloalbum "PLAY ME" fort, das am 13. März bei Matador Records erscheint. Mit der Ankündigung erscheint die erste Single "NOT TODAY", begleitet von einem Kurzfilm der Modedesignerinnen und Filmemacherinnen Kate und Laura Mulleavy (Rodarte). Gordon trägt darin ein eigens für sie gefertigtes, handgefärbtes Seidentüllkleid. Der Song offenbart eine neue, fast poetische Spannung in ihrer Stimme: "Da kam eine andere Stimme zum Vorschein", so Gordon. "PLAY ME" ist ein konzentriertes, direktes Album, das ihren Sound um melodischere Beats und den motorischen Drive des Krautrock erweitert. Entstanden ist es erneut mit Produzent Justin Raisen (Charli XCX, Sky Ferreira, Yves Tumor). Die Songs sind kurz, prägnant und stark rhythmusorientiert - fokussierter und selbstbewusster als zuvor. Nach "No Home Record" (2019) und "The Collective" (2024, zwei Grammy-Nominierungen) richtet Gordon den Blick auf die Gegenwart: Tech-Macht, KI-getriebene Kulturverflachung, den Abbau demokratischer Strukturen und den absurden Alltag des Spätkapitalismus. Trotz dieser Themen ist "PLAY ME" ein nach innen gewandtes, geradezu körperliches und ebenso emotionales Album. Mit verzerrten Stimmen und schroffen Beats legen Songs wie "Square Jaw", "Dirty Tech" oder "Busy Bee" gesellschaftliche Realitäten frei. Der Titeltrack entlarvt die Logik einer durchkuratierten Komfortkultur. "PLAY ME" ist radikal gegenwärtig, widerständig und kompromisslos eigenständig.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
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Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

The Reflex returns in unstoppable form with 'Whatson Ur Mind', the long-awaited vinyl drop after racking up over a million YouTube views. The A-side delivers pure feel-good heat by updating a disco-yacht rock gem into a modern dancefloor weapon with a carefree feel and loved-up sense of romance washing over the nodding bass. Meanwhile, the B-side flips into a soulful, synth-driven slow burner that channels deep funk and libidinousness. Already championed by Gilles Peterson and Ross Allen, this one's built for selectors who know their groove and dancers who like to move.

Hate Love Trio made a low-key debut last year on this label with the slow, dreamy, dance-pop charms of 'Chan-O-Rama'. We have found out little more about the producer or producers behind it but here they or he or she returns with a full-length album of elegant and inventive downtempo and Balearic that starts off with those singles. Elsewhere, slow, mournful rhythms and melodies encourage inward reflection. 'Loosey Goosey' is a funky dancer for grown-ups, 'Billie Brownie' merges dub pacing with sunny guitar echo and 'Sunday I Don't Know' is a shimmering, jazz-flecked neo-classical warmer for intimate moments. An accomplished and adventurous album that is as good for the mind as it is body and soul.

Melohman and Paco Colombas Unveil 'Palma de Janeiro': A Rhythmic Bridge Between Mallorca and Brazil...

PALMA DE MALLORCA - Producers Melohman and Paco Colombas announce their new EP, 'Palma de Janeiro' on GAMM, a vibrant sonic fusion where Mallorcan tradition meets Brazilian pulse. All together, the result is a highly percussive house workout with a South American feel.

The project centers on a unique dialogue between two worlds: the Mediterranean drone of the Ximbomba and the tropical snap of the Pandeiro.
Inspired by the festive spirit of Mallorca's 'Devil' - a mischievous figure of joy and dance - the EP weaves together communal island roots with the duo's deep-seated passion for Brazilian music.

Born from years of crate-digging and travels across Brazil, 'Palma de Janeiro' is more than a collaboration; it is a celebration of music as a universal language. It is a tribute to the dancefloor, where local heritage and global rhythms collide.

Constellation Tatsu welcomes US artist Brendan Principato aka Saapato for what is a hugely conceptual new album based around decomposition. It was sparked when Saapato saw a dead fox lying by the side of the road on his way home from a job in a local warehouse. He used that as a jumping-off point to interrogate "transformation, interconnectedness, and renewal" and the five stages of decomposition, namely fresh, bloat, active decay, advanced decay and dry/remains. Several collaborators help him on his way as he sketches out various instrumental textures which variously have occasional shards of light, lingering melancholy and a subtle sense of hope.

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

Peach Discs' first release of 2026 comes from fast-rising star of the Manchester scene PACH. (pronounced "pack"). Five slippery rollers built for dark rooms, wafty terraces and the most locked-in of afters.

"The Wake-Up Call" EP represents the full spectrum of the PACH. sound, one rooted in the minimal tunes coming out of Romania but with a cheeky playfulness that can only come from a life spent in the trenches of UK club culture. The A1 "Keep It Bubblin’" is a prime example, as Todd Edwards-style vocal chops flirt back and forth with dub-inspired feedback lines, or "5am Wake-Up Call's" skipping, UKG-adjascent hats. Things get a little rowdier with "Complex Waveform's" scuzzy bassline that wouldn't sound out of place coming from the Clone Records ecosystem. Here it's bolted to a chassis of tough, techy drums and trippy vox that tickle at your peripheries. Flip to the B-side for something a little deeper – the dubbed-out percussion and disembodied voices of "Not That Kinda Party" contrasting with the moody, low-key synthetic tones of "Book The Dungeon", both sharing a mutual concept of smartly stripped-back, hypnotic jams that focus on heads-down grooves and rolling energy.

Nail has been an important voice in the UK underground ever since his DiY Sound System days in the East Midlands in the 90s. After many years away, he returned, much to the delight of many heads, about a decade ago and has continued to roll out essential jams ever since. This one on his In The Dance label embodies his style - loopy, disco tinged house that's rough around the edges and burning with soul. 'Lick The Bag' is a cheeky title for a cheeky tune, 'The Price Is Wrong' shimmers with muted jazzy chords that are always held back, but the delight is in the promise and 'Medicine Stick' rolls on sweet grooves and knotted bass. 'Swing By' shuts down with plunging kicks and hints of MAW. Superb.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

The blueprint for a night of futuristic dancing in 1985; It resides not in the stars, but in the crystalline echo of Geometry’s synthesizers.

K!pz enters the grid with Geometry, a 12-inch Maxi Single that strips the Italo sound down to its most essential, pulsating core: Pure Shapes and Catchy hooks, filled with musicality.

A1 – Circular: Hypnotic and fluid: a rounded bass sequence and celestial arpeggios that draw you straight to the center of the floor. Tight, gated drums and bright leads deliver the unmistakable Hi-NRG feel.

A2 – Triangular: Sharp and dynamic: angular lead lines guide a bed of arpeggiated bass, punchy synth stabs, and impactful breaks. A precise, energy-building melodic core.

B – Square: Solid and deep: a driving, grounded bassline supported by a slapping Drumulator groove. Dub-like reverbs and a classic lead synths carve out a strong, steady, and foremost euphoric atmosphere.

GEOMETRY imagines the future as envisioned in 1985—a vibrant collision of abstract design and intoxicating pulse.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

From deep within the astral planes of all that is cosmic in the Northwest and through a fog of kaleidoscopic haze emerges the latest mind-expanding music makers to arrive on Sprechen in the form of the Todmorden based Lines Of Silence.
Living amongst a hotbed of UFO activity and home to the UK's highest ever beach they combine experimental analogue and digital electronics, motorik beats, polyrhythmic improvisation and drone rock guitar explosions to create an immersive, expansive and contemporary take on psychedelia.

Their long player on Sprechen: 'Lines In Opposition !' takes the listener on a visionary aural journey across 8 tracks of electronic, shamanic soundscapes where the sounds of Krautrock exist in harmony alongside drone-esque ambient excursions through an array of synths, guitars & sequenced patterns that draw heavily on the stylings of NEU!, Aphex Twin, Kraftwerk and the musical pickings of the more esoteric sets and radio shows by Andrew Weatherall.

A truly universal listening experience to take you into a higher state of electronic music consciousness...

With Agenda EP, Tom Carruthers closes a landmark trilogy on Skylax Records, following Neutralise EP and Deepline. Three records. Fifteen tracks. One coherent vision of machine-driven house music stripped to its raw, functional core. This final chapter dives deeper into direct, club-focused energy, where groove, repetition and tension do the talking. Agenda is less reflective, more physical — built for movement, sweat, and long transitions in dark rooms. Opening track “Chrome” sets the tone: sharp drum programming, metallic pressure, and looping synth phrases that lock the body into motion. “Agenda (Raw Mix)” follows with a tougher, stripped-down approach — no excess, just pure rhythmic insistence rooted in early Chicago jack and warehouse discipline. “Beat Down” pushes further into machine funk territory, where relentless patterns and rugged textures meet in hypnotic repetition. On the flip, “Fade Away” brings a deeper, moodier tension — a late-night track where subtle emotion seeps through minimal structures. Closing cut “What You Want” is classic Carruthers: jacking drums, understated melody, and a groove that feels timeless rather than retro. As with the previous releases, the visual identity is handled by H5, whose modernist, reduced artwork mirrors the sonic philosophy: clarity, impact, and purpose. Agenda EP completes the Skylax trilogy as a statement of intent — not revivalism, not nostalgia, but dance music reduced to its essential elements.

Carpet & Snares inaugurates its ‘Friends’ series with four slammers from Stephen Slade aka Infinity Plus One. Active since the 90s and author of a series of highly sought-after minimal tech house records, Stephen’s sound is precision tooled for dancefloor explosions, and this EP is no exception.

On the A, he brings two versions of ‘I Broke Your Solar System’, one a stripped-back DBX-style tweaker, the other drenched in sunkissed keyboards and strings. On the B, ‘Forward Together’ is a tight house groove lifted into the stratosphere by flanged percussion, while ‘In The Streets’ luxuriates in stepping electro groove and lush pads.

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

Inner City Sound Archives returns with its second chapter — digging deeper into the forgotten vaults of New York’s underground disco culture.

This new volume brings to light another cache of mysterious acetate recordings: no titles, no credits, just cryptic handwriting, tape hiss, and the unmistakable pulse of a bygone era. Painstakingly transferred and fully remastered through analog processes, these raw and extended cuts preserve the full emotional weight of the original sessions — dusty, physical, and made to move bodies in the dark.

These are tracks that once passed hand-to-hand among a tight circle of selectors, whispered about and played just once or twice at legendary loft parties between 1978 and 1983. Then, silence. Until now. Once championed in the shadows by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, but also by more elusive selectors like Bobby Guttadaro, Michael Cappello, Roy Thode, and Mark Paul Simon — these grooves return to tell their story, the way they were meant to be heard. Each piece is a sonic time capsule — hypnotic, unpolished, and intimate. Pressed loud and with care, for those who still believe in the ritual of vinyl.

2 deep & hypnotic remixes/edits by the revered Floorfillers — extended Romanian style, endless groove waves built for Sunwaves floors.

Simoncino returns to Skylax Records with Traxxx EP, a raw and hypnotic five-track collection built for the dancefloor. Known for his unmistakable analog approach and deep connection to the legacy of Chicago house and underground European club culture, the Italian producer delivers a set of stripped-down, highly functional DJ tools. Tight drum machine programming, rolling basslines and subtle synth movements drive each track forward with precision and efficiency. No gimmicks, no excess — just pure club energy designed for long mixes and late-night sessions. True to the Skylax philosophy, Traxxx EP focuses on timeless groove architecture rather than trends, offering DJs and collectors a record that will remain effective in the bag for years. Raw, hypnotic and direct, this is underground house music in its most essential form.