French ambient composer Franck Zaragoza continues the evolution of his Ocoeur project, moving beyond intricate sound design and beat-driven constructions into expansive, cinematic, beatless terrain.
On his eleventh album, Greener Grass, Clearer Water, Zaragoza deepens the eco-ambient themes introduced on 2024’s Breath, shap-ing a work that feels both intimate and quietly monumental. From its opening moments, a sense of stillness takes hold.
The album unfolds like a series of vignettes, glimpses of an unspoiled world rendered with clarity and restraint. These are not nostalgic visions but speculative ones, reflecting what the natural world might yet become should humanity alter its course.Rather than delivering overt statements, Zaragoza allows the message to resonate through atmosphere and tone.
The result is a subtle but persistent undercurrent, an awareness of fragility and of beauty at risk. In this way, Greener Grass, Clearer Water becomes less a warning than a quiet invocation, drawing attention to what stands to be lost. It is an arresting and finely balanced work, positioning Ocoeur at the intersection of ambient, neoclassical, and cinematic drone with renewed focus and purpose.
,Rainbow Body" ist das Debütalbum einer außergewöhnlichen musikalischen Zusammenarbeit mit Taylor Goldsmith und Griff Goldsmith (Dawes), Rick Mitarotonda (Goose), Eric Krasno (Lettuce, Soulive), Ross James (Phil Lesh & The Terrapin Family Band) und Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun), mit Gastauftritten von Oteil Burbridge (Dead & Company, The Allman Brothers Band) und Nicki Bluhm. Das in Island aufgenommene, selbstbetitelte Album verschmilzt nahtlos Psychedelic Rock, Americana, Soul, Folk und Improvisation zu einem Sound, der sich zugleich zeitlos und abenteuerlich anfühlt. Getragen von Taylor Goldsmiths ausdrucksstarkem Songwriting und bereichert durch die Chemie der versierten Musiker ist ,Rainbow Body" ein facettenreiches Debüt, das den Raum zwischen Americana und Alternative Rock ausfüllt.
Powerful, exhilarating, and refreshing. Whether exploring deep modal jazz or basking in the warmth of calypso-infused jazz, every note is delivered with uncompromising conviction. Here, the essence of Ryojiro Furusawa reaches its fullest expression.
From the 1970s through the 2010s, drummer Ryojiro Furusawa was an active force not only in jazz but across the broader Japanese music scene. His music, marked by unmatched individuality and overwhelming power, is free-spirited yet unwavering, rugged yet inviting, and endlessly captivating.
Among his many achievements, his masterpiece Racco stands as the most complete representation of his artistry. Every composition on the album is an original by Furusawa, yet each piece reveals a distinct musical character. One moment, he delivers a beautifully crafted ballad; the next, he unleashes a dynamic burst of funky jazz. Just as the listener settles into a deep modal jazz groove, he effortlessly shifts gears, wrapping the music in the gentle warmth of calypso rhythms.
The album is eclectic, but never unfocused. Its diverse musical elements are tied together by Furusawa's unwavering vision, with every idea pursued boldly and to the fullest. The result is a listening experience that feels consistently invigorating and rewarding.
Powerful, exhilarating, and refreshing. Few musicians, and few albums, embody such a joyful sense of freedom and vitality. Racco is where the artistry of Ryojiro Furusawa reaches its peak.
Mogwai release this new 30-year, career-spanning compilation. As with their debut single ‘Tuner’ in 1996, Happy Tears is being released via the band’s self-owned and run record label Rock Action Records, also celebrating its 30 year anniversary. The album features the physical release of the incredible dream-come-true pairing of Mogwai and Iggy Pop with the single “Underground”. Happy Tears also features highlights from across the band’s discography, including a previous digital only single and a special new re-working of a Mogwai classic, titled ‘Brand New Paths to Helicon 1,’ featuring the Budapest Art Orchestra, and orchestrated by Adam Wiltzie
(A Winged Victory For The Sullen, Stars Of The Lid).
• The DLP features 13 tracks on one artwork matching black and one yellow vinyl.
Mogwai release this new 30-year, career-spanning compilation. As with their debut single ‘Tuner’ in 1996, Happy Tears is being released via the band’s self-owned and run record label Rock Action Records, also celebrating its 30 year anniversary. The album features the physical release of the incredible dream-come-true pairing of Mogwai and Iggy Pop with the single “Underground”. Happy Tears also features highlights from across the band’s discography, including a previous digital only single and a special new re-working of a Mogwai classic, titled ‘Brand New Paths to Helicon 1,’ featuring the Budapest Art Orchestra, and orchestrated by Adam Wiltzie
(A Winged Victory For The Sullen, Stars Of The Lid).
• The DLP features 13 tracks on one artwork matching black and one yellow vinyl.
Limitiertes Silber mit schwarzem Splatter Vinyl im Klappcover! Ein leeres Fotoalbum. Instinktiv blätterst du jede Seite durch, ob sich nicht doch irgendwo ein Fetzen deiner Erinnerungen, deiner Vergangenheit findet. Doch die Fotos sind längst herausgerissen oder verloren gegangen. Und doch spürst du etwas. Auf jeder Seite, die du aufschlägst, eröffnen sich Welten. Gedanken und Gedenken an Vergangenes macht sich in dir breit. Das Gefühl von Vergänglichkeit unterdrückst du, jetzt und hier ist alles ewig und für immer. Und mit geschlossenen Augen blätterst du weiter und fliegst an Orte, die wie Relikte aus deinem Leben aus der Landschaft emporragen. Es sind deine Orte und nur das Gedenken hält sie lebendig. "Memorial", ist das fünfte Album von RUSSIAN CIRCLES und balanciert von Metal beeinflusste Sounds mit nuancierten orchestralen Elementen. In den zwei Jahren nach der Veröffentlichung von ,Empros" war das Trio aus Chicago fast unaufhörlich weltweit auf Tour und traf dabei auf viele härtere Bands, deren Musik unnötig kompliziert schien. "Also machten wir uns auf, eine unkomplizierte, geradlinige, intensive, heavy Platte aufzunehmen" so Cook. "Unbewusst strebten wir nach dunkleren und düstereren Klängen. Wir wollten weg von der offenen Aufdringlichkeit." Auf der Suche nach dem optimierten Sound konzentrierte sich das Trio auf jeden einzelnen Song mit seinen eigenen emotionalen und musikalischen Eigenschaften. Und so fühlt sich "Memorial" fast so an, als würde man die Stufen der Trauer erklimmen und wieder hinabsteigen. Das Konzept wird durch die clevere Struktur des Albums unterstützt, da es an der gleichen Stelle endet in der es beginnt, und natürlich durch den Auftritt der Gastsängerin CHELSEA WOLFE, die mit ihrem ergreifend düsteren Gesang im abschließenden Titeltrack dem Album das angemessene Ende verleiht. Bis zu einem gewissen Grad sind die monolithischen, nebeneinander existierenden Stimmungen auf "Memorial" die Reaktion der Band auf die Verbreitung und den Einfluss der iPod Kultur und wie diese die Songwriting-Prozesse von Bands neuerdings beeinflusst. Heutzutage versuchen viele Musiker aus unvereinbaren Elementen einen Sound-Brei zusammenzurühren und die Ergebnisse klingen so ungenießbar, wie eine Mahlzeit nach Kochen mit verbundenen Augen. RUSSIAN CIRCLES hingegen umgehen klug und geschickt die Fallen der Genre Verschmelzung. "Ich möchte Bands mit einer breiten Palette hören," sagt Cook, "aber sie sollte diese seltsame Balance zwischen Bandbreite und Weite finden. Wir wollten ein Album mit mehr extremen Höhen und Tiefen. Ich hoffe, dass wir damit durchkommen, eine schizophrene Platte gemacht zu haben."
Portuguese techno mainstay Dextro drops cultured EP 'Covil Dos Abutres' for his label debut on Mutual Rytm.
Dextro has been immersed in electronic music and DJing since the early 90s. In the decades since, he has become synonymous with a sound deeply rooted in simplicity and authenticity. Fuelled by a passion for his craft, his production process is guided by intuition and spans a diverse range of styles, from tunnelling grooves to more potent techno with deep and hypnotic layers. He has held several key residencies and released on top labels like CLR and Missile Records, and he adds to those with a first outing on SHDW's Mutual Rytm with 'Covil Dos Abutres'.
The five-track 12" and eight-track digital EP has a sleek, stripped-back style, with wide-spanning corners of the techno realm explored. 'Covil Dos Abutres' is a deep space transmission with journeying, frictionless beats and deft sci-fi motifs that recall classic touches synonymous with the genre's pioneers. 'Correct Incorrect' keeps the pressure on with more rubbery, dubbed-out groves beautifully decorated with delicate melodies. 'Vida E Morte' is another sublime and hypotonic minimal techno sound with funk in the kicks and a freaky late-night spirit. 'Element One' again combines perfectly reduced drum groves with atmospheric pads and curious samples that keep you intrigued, and 'Beautiful Day' closes out with sonar-like synth pulses over the most skeletal but captivating rhythms. Digital cuts 'Time Line', 'Savana Urbana', and 'Diferencas' further explore the intersection of minimalism with cosmic synth designs that take you off into distant astral worlds.
Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.
Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.
Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.
Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.
Brand new tracks made from the Havana Sessions, recorded by Brian d'Souza aka Auntie Flo in downtown Havana around 2015.
'Havana City' is a joyous, summer anthem in the making, featuring Andrew Ashong on vocals and a host of Cuban musicians. Think Nuyorican Soul's classic 'I Am the Black Gold Of The Sun' with a Tony Allen-inspired drum beat, luscious string arrangements, triumphant horns and addictive keys - all given the space they deserve and fully justifying the 11.5 minutes run time.
The 2026 version of 'Die Bailando' re-invents the original minimal electro beat to a latin rhumba-influenced groover. Grammy-nominated singer Eric Alejandro aka Cimafunk's vocals are a huge highlight, now fused with new guitars from Ziggy Funk and drums from Ibibio Sound Machine's Jose Joyette.
Completing the package is a remastered version of 'Mother Theresa' - which has close to 2 million plays on Spotify but was never released on vinyl. Drift away to the sounds of the Malecon...
A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be
paid to environmental charities.
The brand new ANORAX RECORDS label’s mantra is #eatsleepcollect - which makes its’ debut release right on point.
Drizabone’s anthemic “Pressure” has become a huge collectors want with appeal to Modern Soul fans, Northern Soul followers and House addicts via the much loved Roger Sanchez remix.
Drizabone burst on to a dazzling British Soul scene in the early 1990’s, following the footsteps of Soul II Soul and Loose Ends, rubbing shoulders with the likes of The Brand New Heavies as UK acts laid down their own distinctive Soul DNA.
After debuting with “Real Love” which went from a mystery white label to a chart smash, Drizabone went on to record the iconic “Conspiracy” album.
“Pressure” has endured like fine wine and is now hailed as an all time classic.
ANORAX present the original and very in-demand original backed with Roger Sanchez’s Nu- Solution remix on limited edition 7 inch single.
Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.
Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.
“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.
Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.
Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.
Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.
Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.
With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.
Tracklist:
A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello
A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello
A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals
A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals
B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals
B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals
B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals
B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer
B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass
B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums
Credits:
Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle
Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)
Photography: Claudio Virgínio
Design: Minchai
Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany
After a successful run of early EPs and his debut double LP You!, Producer and Singer-Sing Writer Alek Lee returns to Antinote with his new album Like a Flower — an 8-track journey (plus 3 digital bonus dubs) that feels like open-heart surgery. With raw vulnerability, Lee exposes his deepest fears, pain, and inspirations, singing straight from the gut, but also sending words of inspiration and hope.
From dub-infused vibes like the opening track Alright featuring My Lord, to grungy ‘90s trip-hop stylings on Compensation and the title track Like a Flower, the album showcases Alek’s wide emotional and sonic range.
He shifts seamlessly into smoky, Sade-esque moods on tracks like Change, Let the Sun Just Shine, and Hold On — intimate ballads exploring heartbreak and existential reflection.
With his signature blend of melodica, live percussion, guitars, vocal choirs, and lush '80s synths, Alek Lee locks you into his unique sonic universe. His brutally honest, yet deceptively simple lyrics are dressed as balearic dub-pop bangers.
Zuperflex Records from Frankfurt is back. The label from Oskar Offermann and Porco Rosso aka Luca Hartz features a release from Oskar himself.
After a more Italo-influenced EP on Vass’s The Comfort label last year Mr Offermann hits with some old school rumble Tech vibes on Zuperflex. While the A-Side follows a more contemporary approach, the B embraces more imperfection and the maximization of the the old-school.
RITUAL is a poetic and political gesture by Antonio Marotta: a sonor resurrection where archaic meets electronics. Drawing on Campanian roots and European club culture, the album blends the trance of Ritual with the ecstasy of the dancefloor.
Seven beats and seven loops inspired by the Seven Madonnas of Campania, where the drum remains the visceral beat that connects the earthly to the divine.
An act of resistance that delivers new life to tradition.
The limited edition Vinyl LP contains a special insert with the visionary graphics conceived by Andrea Maddaloni, the lyrics of the 8 songs and Marotta's personal manifesto.
Grab your copy before it's too late.
Written & Created by: Antonio Marotta
Tammorra, Chitarra Battente, Chitarra Elettrica, Voci, Scetavajasse, Castagnette, Tromba degli Zingari & Live Looping by: Antonio Marotta
Lyrics Transcription & Dialect Revision by: Alessandra Ruggiero
Mixed & Mastered by: Antonio Marotta and Peter De Girolamo
Mask Artwork by: Atelier Antise
Photography: Let's Pic Studio
Art Direction & Design by: Andrea Maddaloni
Club Consulting by: Alfredo Maddaloni
Produced by: Antonio Marotta and Maledetta Discoteca
Executive Production by: Maledetta Discoteca
“So Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. So Help Me God expands Lu’s singular creative universe - where music, visual art and performance converge into one multidisciplinary project, marking the return of one of contemporary music’s most singular voices.”
The A side kicks off with an infectious bass-heavy hypnotizer from DEMARKUS LEWIS. FRANK AMODO's remix adds a funky twist with a rubbery bass line and filtered keys. JOSH STONE crafts an absolute masterpiece of chunky disco that will be played for years to come on the B side.
Jay Denham is the US techno mainstay behind Fade To Black and now his 1990 EP 'In Synch' gets reissued as the second outing from the Tape & Disc Control crew. The original often fetches close to three figures on the second-hand market and was an early blueprint for rugged analogue techno with plenty of bounce, not least in the title cut. 'The Calling (reprise)' builds through classic Detroit machine soul with surging chords and feathery light percussion dancing over the groove. 'Insistent Rhythm' has boom and swing in equal measure while 'The Calling' is rich in old school techno funk and plenty of wiggy electronic lines. 36 years old but still utterly futuristic.
After a brief hiatus, Nuances de Nuit returns with Lucho's 'RioGroove'; a tightly woven trio of deeper cuts, perfect for the hazy dancefloor and after-hours alike.
Two Lucho originals and a stripped-back, slow burning reinterpretation from Rumps.
EVPHORIA is not just a record. It’s a trigger.
140 BPM of tension, ascent and release — engineered to push the dancefloor into collective hypnosis.
Balancing power house propulsion, techno pulse and large-scale emotional lift, the track transforms a strangely familiar sensation into something raw, direct and uncompromising. No nostalgia — only forward motion. A rise that refuses to come down.
The original version unfolds as a sustained euphoric surge: driving percussion, insistent hooks and controlled repetition built for peak-time unity.
The edit version distills that energy into a tighter DJ weapon — immediate, sharp, floor-focused.
On the B-side, Inflammable Noise appears in its instrumental form — pure club mechanics, no vocals, no distraction. A stripped version that amplifies tension and turns the track into a true dancefloor weapon. Already tested in demanding environments, it notably detonated a peak-time moment when Chloé Caillet played it at Berghain — a point where the room tipped over.
EVPHORIA moves freely across scenes — from house floors pushing tempo to techno basements and high-intensity dance spaces — built for DJs chasing the rupture point.
Pressed in a strict limited edition.
Vinyl only — no digital release.
Created under the EVPHORIA imprint by Hardrock Striker — dancefloor architect and driving force behind the Skylax universe — this release stands as a physical, autonomous club statement.
Sleeve artwork by H5 (Daft Punk, Air, Étienne de Crécy, Logorama, Kanye West / Adidas), reinforcing EVPHORIA as both a sonic and visual manifesto.
EVPHORIA doesn’t ask permission.
EVPHORIA triggers.
A record for the moment the room tips over.
Strong international support from Richie Hawtin, Arnaud Rebotini (Black Strobe), Kristian Beyer (Âme / Innervisions), Dax J, Ilario Alicante, Chris Fortier, Michel Gaubert, DJ Mag, KEXP Seattle, Byte FM, Tsugi, Waveform Transmitter and many more.
Outstanding reactions included: "This is just perfect... one of the best things I've heard in recent weeks. Supported!" (Club Furies), "Great release! Adding to Waveform Recommended." (Ste Knight), "Excellent work here! Will play on my show." (Fly Radio 104 FM), "Great – will play." (Radio Reverb), "Energetic and ethereal club energy." (CJSW Canada)
Luca Olivotto returns to Groove Culture with "Underground Ensemble," a solid four-track EP built for the heads.Blending heavy classic influences with a sharp, modern dancefloor edge, Olivotto delivers a masterclass in timeless House music. Each cut balances deep, nostalgic vibes with a cutting-edge production style, making this a versatile essential for any record bag. Whether you're looking for warm, early-evening grooves or peak-time energy, this EP provides a brilliant sonic journey from start to finish.
Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.
The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.
I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.
After shaping a strong identity through our first three releases, this new record marks a tighter and more assertive expression of our influences through new sonic explorations.
This EP reflects the journey Triple Phase has taken so far. Inspired by one another, our music has grown denser and now moves toward something more physical, rawer, and more club-oriented.
More frontal and rooted in the dancefloor, these new tracks explore a palette where techno, breakbeat, and tech house intersect. Spirits captures the spirit of three passionate producers: each track retains its own strong character, while the connection happens through the energy that runs across the record as a whole.
Triple Phase is finding itself and falling into alignment. A new statement, still driven by the same desire: to create music that feels free, inhabited, and deeply alive.
Pressed in a limited edition, TPH03 is made to be played, passed on, and kept in circulation.
Riviera Records is a brand new label that kicks off with ‘Move’ - a statement of intent from founder X-Coast. Continuing to perform across the USA, Canada, Europe and Asia, X-Coast is an unconventional character and little is known about the mysterious Serbian other than the concept for the alias is that it exists “somewhere in the deep blue Caribbean Sea, between your imagination and what’s real.” Having released on labels like Hot Haus, Lost Palms and Steel City Dance Discs, X-Coast now launches Riviera Records with a promise to be an uncompromising clash of sounds” and the label stays true to that from the get-go.
There is no mucking about here as X-Coasts demonstrates his versatility as a producer with three varying mixes of ‘Move’ making up the bulk of the package. First up is the Trans Mix: an arms-in-the-air, throwback trance track with euphoric vocal stabs all primed to inject real energy into any set. House Mix then bounces and bumps with a refracted garage vox and endless old school dynamism, before the twisting and turning Breaks Mix follows with its thumping drums, hits and rattling dub sounds that all explode to life. Finally, ‘Naos’ totally flips the script with a slow, deep, cosmic workout build on a rugged bassline. A breathy voice, warm chords and balmy pads all wash over you like a Balearic breeze and take you to hedonistic dance floor somewhere in 80s Ibiza.
WRWTFWW Records announces the return of Louisiana-based composer and producer Jammin’ Sam Miller with A Link To The Past Tribute, his homage to the music of Zelda (A Link To The Past). His remake of the classic video game score is available as a limited edition green vinyl LP with artwork and sticker sheet by French illustrator Pierre Thyss, as well as an obi strip.
Originally composed by the legendary Koji Kondo, the epic 1991 Zelda soundtrack for the Super Nintendo Entertainment System is one of the most celebrated pieces of video game music ever, a sound that will automatically bring fans to a complete state of pixelized nostalgia bliss.
Jammin' Sam Miller entirely remade the soundtrack from scratch, note by note, without sampling any of the original audio. He recorded his cover versions by finding the original equipment used to create the score, translating the MIDI into a modern studio context, adding his keyboard sounds, and re-mixing and re-mastering the whole soundtrack with modern techniques. The result is a new experience of vintage Zelda music in full HD uncompressed glory and blessed with the beloved Jammin’ Sam Miller touch!
For the third release on Patent, Gockel invited some friends into the studio: HXTC, Marco Wachs, Plug Trax and Dying & Barakat.
Four tracks, four collabs, one shared vibe: deep, dub-infused, Detroit-inspired techno.
Each track brings its own flavor, each collaboration its own twist - together they make a playful, powerful, and unmistakably journey. Raw, detailed, and full of character - exactly how we like it at Patent.
Limited run of 300 copies.
Pressed on purple colored vinyl, hand stamped, hand numbered, including stickers.
Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!
After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!
Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.
These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!
DJ Antoine without a doubt can be called one of the biggest selling commercial dance-artists of the 2010’s. Between 2010 and 2015 he ruled the charts in Belgium (golden records for Welcome To St.Tropez & Sunlight), France (Platinum record for Ma Chérie, gold for Sunlight and Welcome To St.Tropez), Germany, Poland, Spain, Switserland, Romania, Holland,…
Antoine was rewarded by some of the biggest awards in Europe such as the NRJ Music Awards, was a juror in the successful TV-show “Deutschland Such Den Superstar” and he even had a cooking show “Kochen Mit DJ Antoine”
Just to say….Antoine was everywhere….And still is. “Ma Chérie” and “Welcome To St.Tropez” went on to become genuine club classics.
DJ Antoine without a doubt can be called one of the biggest selling commercial dance-artists of the 2010’s. Between 2010 and 2015 he ruled the charts in Belgium (golden records for Welcome To St.Tropez & Sunlight), France (Platinum record for Ma Chérie, gold for Sunlight and Welcome To St.Tropez), Germany, Poland, Spain, Switserland, Romania, Holland,…
Antoine was rewarded by some of the biggest awards in Europe such as the NRJ Music Awards, was a juror in the successful TV-show “Deutschland Such Den Superstar” and he even had a cooking show “Kochen Mit DJ Antoine”
Just to say….Antoine was everywhere….And still is. “Ma Chérie” and “Welcome To St.Tropez” went on to become genuine club classics.
The debut single from the transatlantic duo Nathalie Aarts
and German Le Guizamon, which conquered charts across
Europe and marked the beginning of a string of hits.
For their fourteenth installment, FELT look once again to their city of Copenhagen, specifically to more alumni of the Rytmisk Musik Konservatorium (Rhythmic Music Conservatory). Following soon after Ginte Preisaite’s debut for the label, this long player from Vincent Yuen Ruiz is a grand departure from Preisaite’s experimental electroacoustic pop compositions, instead offering an elegant and pensive suite of late-night, wide-eyed ambient jazz works centred on piano, double bass and percussion; “I seek a dramaturgy of restraint, where silence, space, and collective attention become structural elements of the music.” (Yuen Ruiz)
Originally forming in Copenhagen in 2019, the group's language sits at the crossroads of contemporary jazz, improvised music, and experimental sound practice and deploys a non-hierarchical collective approach. Taking harmonic cues from Bach and Ravel but expanded into a dialogue between players that is repetitive, spacious and informed by minimalism as much as ECM chamber styles, the resultant four pieces move between precise formal structural rules and spontaneous improvisation. Silence and restraint is as important a device as timbre and unity. The group are concerned with dispelling the traditional jazz trio model, e.g. three unique displays of virtuosity, instead exploring how each player may help add to the overall emotive atmosphere the use of ambient space provides. To borrow a quote regarding the hard to classify music of Czech duo Irena & Vojtěch Havlovi, this interplay strikes at times like the shadows contrasting with the light.
More intimate than Yuen Ruiz’s Le seul salut que je connaisse (2021), an album recorded with a 6-musicians ensemble, this latest album Trio continues the composer’s research and moves towards a more focused, condensed writing style and a clear statement of intent.
A definitive pillar of 90s R&B, the album made history by making Morrison the first British artist to have five Top 10 singles from a debut album, revitalising the UK R&B scene and proving that British artists could dominate the American urban charts. 3m copies sold worldwide special Orange marble to celebrate the 30th anniversary
At the cusp of a new millennium, British electronic music was rapidly changing. Jungle and garage had broken into the mainstream, but were running out of creative gas – what fresh movement would next captivate the underground? On the outer edges of London, a small group of bass lovers had the answer. Through a new strain of subloaded beats that stripped jungle, rave, techno and garage for parts, this scene returned to the dub roots, prizing the fundamentals of soundsystem culture: bass, space and togetherness. They called it dubstep.
In Aftershock: The Seismic Impact of Dubstep, seasoned music writer Lauren Martin charts the origins of one of the 21st century’s most innovative music genres in an oral history format. Through the testimonies of its architects and an immersive array of photography, flyers and unseen scene history, Aftershock chronicles the rise of artists like Skream, Mala, Coki, Loefah, Horsepower Productions and Rusko, as well as labels and parties such as Hyperdub, Tempa, DMZ, FWD>> and Skull Disco.
Together, this movement shook the British underground, exploded onto the internet and, within a decade, had rocked global music at unprecedented scale. Through first-hand storytelling, Aftershock is a testament to how the imagination and persistence of a few can transform culture.
Quotes
“Written via interviews with 28 leading scene figures from London and beyond, Lauren Martin’s oral history of dubstep is a landmark document of British club culture. This heavy, asymmetric music, informed by Jamaican soundsystem culture, garage, grime, breaks and more, could only have mutated in the UK, and Martin’s cast of characters take you back to the Croydon record shops, Shoreditch clubs and online forums where it came together. Amid funny tales of infighting and the inside stories of classic tracks, the artists’ pluck and passion are what shine through brightest, and make this such an inspirational read.” – Ben Beaumont-Thomas, Editor at Guardian Music
Lambrini Girls kündigen am 15. Januar ihr mit Spannung erwartetes zweites Album „NO REFUNDS“ an. Ihr Debütalbum „Who Let The Dogs Out“ schaffte es in die Top 20 der britischen Charts, wurde von Magazinen wie Kerrang! und NME auf den Titelseiten vorgestellt, sorgte weltweit für ausverkaufte Tourneen und löste einen regelrechten Hype in den sozialen Medien aus. „No Refunds“ ist düsterer, direkter und radikaler. „BANG BANG BANG“ eröffnet die Kampagne mit voller Wucht: scharf, schnell und explosiv.
Lambrini Girls sind ein Punk-Duo aus Brighton, das Musik über all das macht, worüber deine beschissene Regierung, deine beschissenen Chefs und deine beschissenen Männer lieber nicht reden würden. Phoebe Lunny (Gesang, Gitarre) und Selin Macieira-Boşgelmez (Bass) stehen ganz in der Tradition des Riot Grrrl – roh, laut, witzig und wütend. Ihre Songs über sexuelle Übergriffe, Queerness, Sparpolitik, Rassismus und toxische Beziehungen werden mit einer chaotischen Live-Energie vorgetragen, die Veranstaltungsorte in Moshpits und Fremde in Gemeinschaften verwandelt. Ihr Debütalbum „Who Let The Dogs Out“ (City Slang Records, Januar 2025) war eine der meistgelobten Platten des Jahres: eine Metacritic-Bewertung von 83, was auf „allgemeine Begeisterung“ hindeutet, ein Einstieg auf Platz 16 der britischen Albumcharts, Rough Trades „Album des Monats“ und Platz 12 in Kerrang!s Liste der 50 besten Alben des Jahres 2025. NME kürte es zu einem der 20 besten Debütalben des Jahres. Die Band zierte die Titelseiten von Notion, Kerrang!, Paste, New Noise und Variety und erntete Lob von Größen wie Kathleen Hanna, Sleater-Kinney und Peaches, die ihren Hit „Cuntology 101“ remixten. “ Im Anschluss an das Album folgten mehrere ausverkaufte Headliner-Tourneen durch Europa, Großbritannien und Nordamerika, bei denen sie das O2 Forum Kentish Town ausverkauften und sich einen Auftritt beim Coachella sicherten, bevor sich Frontfrau Phoebe Lunny mitten auf der Tournee in Australien eine Halswirbelfraktur und eine Hirnverletzung zuzog. Die US-Termine wurden verschoben. Und dann neu angesetzt. Eine Reihe von Festivalauftritten wurde angekündigt. Ein Auftritt als Vorgruppe von Bikini Kill in New York wurde hinzugefügt. Das ist nicht die Ruhe vor dem Sturm … Die Lambrini Girls sind schon mittendrin, und sie werden gerade erst richtig loslegen.
Lambrini Girls kündigen am 15. Januar ihr mit Spannung erwartetes zweites Album „NO REFUNDS“ an. Ihr Debütalbum „Who Let The Dogs Out“ schaffte es in die Top 20 der britischen Charts, wurde von Magazinen wie Kerrang! und NME auf den Titelseiten vorgestellt, sorgte weltweit für ausverkaufte Tourneen und löste einen regelrechten Hype in den sozialen Medien aus. „No Refunds“ ist düsterer, direkter und radikaler. „BANG BANG BANG“ eröffnet die Kampagne mit voller Wucht: scharf, schnell und explosiv.
Lambrini Girls sind ein Punk-Duo aus Brighton, das Musik über all das macht, worüber deine beschissene Regierung, deine beschissenen Chefs und deine beschissenen Männer lieber nicht reden würden. Phoebe Lunny (Gesang, Gitarre) und Selin Macieira-Boşgelmez (Bass) stehen ganz in der Tradition des Riot Grrrl – roh, laut, witzig und wütend. Ihre Songs über sexuelle Übergriffe, Queerness, Sparpolitik, Rassismus und toxische Beziehungen werden mit einer chaotischen Live-Energie vorgetragen, die Veranstaltungsorte in Moshpits und Fremde in Gemeinschaften verwandelt. Ihr Debütalbum „Who Let The Dogs Out“ (City Slang Records, Januar 2025) war eine der meistgelobten Platten des Jahres: eine Metacritic-Bewertung von 83, was auf „allgemeine Begeisterung“ hindeutet, ein Einstieg auf Platz 16 der britischen Albumcharts, Rough Trades „Album des Monats“ und Platz 12 in Kerrang!s Liste der 50 besten Alben des Jahres 2025. NME kürte es zu einem der 20 besten Debütalben des Jahres. Die Band zierte die Titelseiten von Notion, Kerrang!, Paste, New Noise und Variety und erntete Lob von Größen wie Kathleen Hanna, Sleater-Kinney und Peaches, die ihren Hit „Cuntology 101“ remixten. “ Im Anschluss an das Album folgten mehrere ausverkaufte Headliner-Tourneen durch Europa, Großbritannien und Nordamerika, bei denen sie das O2 Forum Kentish Town ausverkauften und sich einen Auftritt beim Coachella sicherten, bevor sich Frontfrau Phoebe Lunny mitten auf der Tournee in Australien eine Halswirbelfraktur und eine Hirnverletzung zuzog. Die US-Termine wurden verschoben. Und dann neu angesetzt. Eine Reihe von Festivalauftritten wurde angekündigt. Ein Auftritt als Vorgruppe von Bikini Kill in New York wurde hinzugefügt. Das ist nicht die Ruhe vor dem Sturm … Die Lambrini Girls sind schon mittendrin, und sie werden gerade erst richtig loslegen.
Constantly pushing his studio craft into unexplored realms, Pugilist returns to Samurai with a fresh clutch of innovative hybridised meditations transmitting from upper tempos. The versatility in Alex Dickson's approach is proven by the broad spectrum of labels he releases on — as comfortable shelling down for Shall Not Fade as he is tearing out on Rupture London. As the Melbourne / Naarm-based producer opens up the Triads EP with 'Rune', he hones in on a dynamic fusion of insistent technoid propulsion and brooding bass snarls with a mysterious portent. 'Pyre' swiftly turns up the percussive intensity with bludgeoning kicks and whipcrack snares that evoke classic electronica as much as D&B. For all the sharp attack of the drums, though, Dickson manages his ingredients with ruthless restraint, creating a fierce kind of meditation in the process. 'Woven' allows a rich variety of snaking synth lines to take centre stage as we tunnel into the second half of the EP, relishing the space for dynamic modulation and slowly evolving, cinematic pads that offer a glacial foil to the twitchy pace of the snappier elements in the mix. 'Machiavellian' plays the consummate closer in its lead in, playing a patient game in ritualistic drums before the herald of rave tropes rear up in some pronounced, choppy snare science. Yet again, Dickson opts for a softer approach where you might be expecting an explosive drop, allowing the skittering drums to roll on until they become a mesmerising texture in the track. In the end, it's an expert flourish demonstrating the energetic possibilities that lie in the spaces beyond more obvious peaks and troughs. Across four brilliantly original, highly advanced rollers, Pugilist nails the balance between subtlety and impact and proves himself a worthy advocate for the path less travelled.
A special one-sided 12” promotional pressing from Love Universal Music.
Built on hypnotic rhythm, deep groove pressure, and widescreen atmosphere, Yankari have quietly been carving out a sound that feels both timeless and impossible to pin down — blending afrobeat pulse, psychedelic textures, and ritual energy into something raw, transportive, and deeply physical.
For this exclusive remix, Frawl strips and dubs the original into deeper territory — extending key passages and reshaping sections for dancers, selectors, and late-night floors. A spacious, hypnotic rework built to stretch out and lock in.
Pressed in an ultra-limited run of 100 copies, this release acts as an early transmission from the wider world of the forthcoming Yankari LP — a record already generating serious attention behind the scenes.
Sweet Breeze Sound's first 12" is inspired by DC's long-running DIY party Extended Play. Local legend and veteran Marc Meistro knows the room he's building for here and opens with a wildly inventive flip of an Earth, Wind & Fire classic, full of hefty Daniel Meinecke's Rhodes and organ solos. 'Be More Bruk' takes a tougher route through Baltimore club energy and the flip cut 'Roll Em Up' leans into early-80s NYC spirit for a proper outdoor-jam feel. 'Julien, Sammy, et Jojo' closes things out with an 80s-inspired African disco flip of an obscure Central African cut. Playful and fun.
