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Plastik People - no, not the legendary London venue that was host to dubstep's formative FWD>> parties - a garage label run out of Albuquerque, New Mexico with some seriously authentic roots. This new one kicks off with a raw, bumping Jovonn Project Boyz mix of a vocal house gem that overflows with dusty and soulful vibes. Straight & Shuffle offer the equally timeless 'Love', complete with twinkling synths, golden chords and nice undercooked grooves. The flip features Wayne Hunter's perfect US garage vibes as he flips 'Keep On Pushin'' and last of all is the super silky and speedy house of Baeka's 'All I Need.' These tunes are the very definition of oldies but goldies.

2026 Repress

SPEICHER-Ikone und gefeierte Clubmacht KÖLSCH debütiert auf KOMPAKT mit dem Album '1977', einer außergewöhnlichen Sammlung von elektronischen Juwelen, die seine frühen Meisterwerke mit exklusivem neuen Material verzahnt. Hier finden Monument, Irrsinn & Biss unter einem gemeinsamen, kennerhaft austarierten Groove zusammen und bereichern die Erlebniswelten von
Heimtänzern wie Flurhunden... dein neuer bester Freund ist da und es ist eine Platte.

Tatsache: trotz des Namens und unserer wohldokumentierten Vorliebe für Kölner Bier ist KÖLSCH kein Rheinländer und er hat sich auch nicht nach dem Lokalbräu benannt. Selbst weltweit hoch gehandelte Hits und eine Reihe profilträchtiger Live-Auftritte scheinen allerdings nichts daran zu ändern, daß der preisgekrönte dänische Produzent Rune Reilly Kölsch regelmäßig konfuse Fragen nach dem eigenen Namen weggrätschen muß. Und doch könnte er nicht deutlicher werden: man denke an etablierte Flurfavoriten wie OPA, DER ALTE oder SILBERPFEIL... diese Tracktitel beziehen sich samt und sonders auf Runes Erinnerungen an eine Kindheit in Deutschland. Anders gesagt: ja, der heißt wirklich so.

'1977' ist nicht einfach nur entseeltes 'Best Of'-Gemenge: mit brandneuen Eisen wie BASSHUND, BAPPEDECKEL und EISWINTER im Feuer braucht KÖLSCH sich nun wirklich keine Gedanken über die zukünftige Wirkgeschichte seines Werks zu machen. Und dann ist da eine Rillenzirze wie OMA, hoch emotionaler Konterpart zum leicht sardonischen OPA und in jeder Hinsicht ebenso mitreissend wie die kanonische Überballade ALL THAT MATTERS. Für das große Finale schließlich wendet sich Rune an LORELEY, das bestimmende Initialrelease des Projekts und bis heute ein massiver Kracher von eigenem Recht - in der Tat so gewaltig, daß der Schock von gleich zwei weiteren Tracks gepuffert werden muss, dem dramatischen WASSERSCHUTZ und einem trojanischen Pferd namens FELIX. Letzteres sollte ja eigentlich eine Art Outro für das Album sein... doch dann hat jemand den Knopf gedrückt und das transdimensionale Portal erwachte zum Leben.

Dream Ticket is back with revved-up snarling electro from Barcelona: the grinding circuitry of synths pushed to their limits, highs that slice the air, the squeal of tires on tarmac right before impact. Watch out fugitives, The Future Corporation is on your tail.

Welsh multi-instrumentalist and producer Huw Marc Bennett sinks his hands deep into the soil of South Wales, reimagining traditional melodies from the Morgannwg/Glamorgan region through an earth-toned palette of folk, jazz and psychedelic roots. ‘Heol Las’ is ancient music seen through a modern prism; acoustic textures rubbing up against hypnotic grooves, field-worn stories refracted into new shapes.

Every track on the album is either drawn directly from, or woven around, archival tunes of the region. Bennett’s approach is reverent yet expansive, pulling history into the present while staying grounded in community, landscape, and lived culture.

Bennett says, “On this record there are versions, interpretations and tunes influenced by cerddoriaeth werin, the folk music of Morgannwg; The place I was born, I was raised in and revisit to feel grounded. The melodies you hear were given, found and invented.”

DJ Support: Adam Auburn, DJ Nova, Norm De Plume (Delusions Of Grandeur), Guy Perryman, Simon 'Palmskin' Richmond, Rocco Rodamaal, Damian Lazarus, Demarkus Lewis, Douglas Arellanes, Craig Smith (Yoruba Affil), Lay-Far, Dr. StrangeDub, Dennis Ruyer, Kono Vidovic, Roberto Rodriguez, Bill Brewster, Chris Read, Richard Earnshaw, Hot Toddy, Handson Family, Dj Pope, Robbie Akbal, Golf Clap, Marques Wyatt, Kiko Navarro, Mr Beatnick, Jamie Jones - Hot Creations, Marcia DaVinyl MC, Mikael Ikalainen/ Dj Lord Fatty, Ian Friday, Mr V, Mathieu Schreyer, Willie Graff, Makossa, Stuart Knight, Timo Maas, Bruce Tantum, Sean Brosnan (Futuredisco), DJ Harri, Vinny Da Vinci, Trevor McNamee, Roger Sanchez, and Dom Servini

PDD are excited to welcome the return of the legendary Winding Road Records. Originally launched in 2002 by Schmoov! and home to releases by cult artists such as Ron Basejam, Hot Toddy, both of Crazy P fame as well Vincenzo, Rhythm Plate, Spirit Catcher and not to mention Lovebirds and their monster hit, I Want You In My Soul. After a hiatus, the label is back with a bang and teaming up once again with Lovebirds for another classic EP.

About Alec Pace’s “Respiro 22:16”
Breath as rhythm. Breath as memory. Respiro 22:16, the debut album by Alec Pace, is a world suspended between intimacy and impact — where personal confessions are carried by low-end frequencies and fragile melodies are shaped into physical space.
Written, produced and mixed between London and Turin, this record reveals Alec Pace not only as a producer but as a storyteller through sound. Layer by layer, his voice, guitars, piano, synthesizers, drum machines, samplers, and field recordings converge to form a sonic diary — one that whispers, cracks, shimmers and erupts.
The album moves fluidly between dream pop, modern UK bass, breaks, jungle, and club music, yet its essence lies in emotion: love, memory, anticipation, release. Each track is a breath, an exhale, a fragment of something lived.
“The30th” opens with nostalgic warmth, darkness and breaks; “For You (Hello)” captures the tender rush of a love song over a drum & bass heartbeat; “Venus Winds” floats in a balance of techno pulse and harmonic light. “Angular Invariance” reshapes the floor beneath your feet, while “Respiro” pauses to listen inward — piano and air, fragile and close. “Anticipation” closes it all with a forward surge: emotional, propulsive, unresolved.
Respiro 22:16 is not just a collection of tracks, but a portrait of an artist learning to breathe out loud.

Alec Pace said:
“This album is about putting myself out there — letting every sound, chord and rhythm breathe,” says Pace. “Respiro is both a personal archive and a release.”

“Respiro 22:16” is available across all platforms on Friday 6th March 2026.

Just when you thought Kevin Richard Martin's music couldn’t go any slower, lower or deeper, Sub Zero emerges. A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin’s most striking release to date under his given name.


Originally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia’s initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for Sub Zero to finally surface in its full glory: remastered and paired with fresh new artwork.


Unnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. A trip into a sonic abyss, with a tour of a philosophical void, it’s to my ears, KRM’s most seductive work yet, and also his most emotionally resonant. Martin expertly balances tear-jerking motifs with heavier than hell rhythmic weight. With its melodic fog, eternal drones and eerie atmospherics, the peripheral throb of distant kick drums, the heartbeat punctuation of cavernous subs and the snowstorm blizzard of fuzz absolutely envelopes the mind, whilst crushing the soul.


In terms of lineage, Sub Zero might recall a more paranoid Porter Ricks, a dystopian GAS, or a brutally dubbed-out Pan Sonic. Most fitting, however, is its kinship with the deepest dub terrain Martin previously explored on In Blue, The Bug’s acclaimed 2020 collaboration with Dis Fig for Hyperdub, where he obsessively probed subaqueous pulses and low-end modulations.


Sub Zero is possibly the most minimal, desolate, and deviant dub record yet released on Martin’s PRESSURE label. It marks the point at which dub disappears into its own effects trails. Dub music capturing frozen moments in time. Dub as an addictive painkiller, that sounds both sacred and ocean deep.

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

12th Release of the limited Florcene Funk Sublabel including 2 rare Gems and for the

first Time in fresh 4C full Cover....Vinyl Only & limited as usual.



Comes for the first Time in 4 C full Cover !

Miles Borghese’s Direct Styles, up next on Jupiter’s Depth, explores a meditative dub techno palette that sits somewhere between dub, tech-house, and minimalist club music. Following a run of standout releases on 9FINITY and Squid Recordings, among others, we’re thrilled to welcome that alien modern club sound to the label.

The floor-focused Direct Styles opens with the title track, driven by a hyperactive bassline and layered with delay-drenched synth chords, galloping through time with restless momentum. On A2, a more tempestuous techno side of Miles Borghese reveals itself on “Dark Plan,” charging the release with a mind-bending looped groove, pulling everything on earth into a hypnotic, blitzed state.

“Climber” — a storm of immaculately constructed, phase-shifting textures that drags us deep into the B-side; a real dub-techno delight made for outer space. Closing the EP, Miles joins forces with Pipo Renault on the lush “Parapluie”: warm and groove-focused, a captivating, house-leaning masterclass built to keep you moving.

A Bandcamp-only digital bonus, Substance, awaits those willing to dig a little deeper.

Desinteresse releases their second album Onschuld through Fabrika Records on September 9, 2025.

Desinteresse is a Dutch Coldwave act consisting of Bart Vranken (bass), Joppe de Swart (drums), and Sem van den Munckhof (vocals/synth/guitar). Formed in late 2022 as a duo, Bart and Sem released their debut album Voor Altijd in April 2023 and the EP Ik Wil Dood Als Ik Het Vergeet in November 2023, both on cassette through their own label DECADENCE. With the addition of Joppe in early 2024, they released their first work as trio in August 2024, the 7” single Grijze Dromen.

Desinteresse produces their music using original vintage equipment as a deliberate form of artistic expression and identity. Their live performances are a melancholic, but mesmerizing affair, where music and vocals amplify the weight of their message, emphasizing the non-existential and abandoned emotions that define their sound. An absolute delicacy for fans of Fad Gadget, The Normal, Joy Division and early work from The Cure.

The titles and lyrics are in their native Dutch. Onschuld (also the title of the opening track) translates to ‘innocence’. With other titles such as Niets Te Zeggen (nothing to say), Brekend Glas (breaking glass) and Grizje Dromen (grey dreams), this pensive album could be a good-bye to innocence, but it’s certainly the ideal companion for ruminations on gloom.

Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.

“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass

The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”

Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa

Collecting Orders For 2026 Repress

It's safe to say that Mark E is something of a master when it comes to doing a hell of a lot, with not very much at all.
Back in 2011 'Call Me' was heard everywhere, especially the splendid Dixon edit, which teased out the drama and made the most of that spoken Ms Ross vocal.

It's testimony to the staying power of this track, and the fact it's quite rightly regarded as a Deep House classic that it's had a recent revival, largely from Luke Unabomber across his head-spinning summer tour schedule. We started getting video clips from the curious..."Do you know this track, sounds like Carl Craig remixing 51 Days ?"

Given that we sold out the initial run in a matter of days back then, we thought it was high time we put the call in for a reload.
So here you go, the classic 'Call Me' backed with a truly wonderful new jam from Mark, which is another zinger in a catalogue choc full of 'em...

Double Je is Hypnotique’s third release on Bordello A Parigi. Following the successes of La Pénombre and Solitude, the trio of Sergio Mesa (IAMNOTAROBOT), David and Maia Jornet have reconvened for a smouldering three tracker. Vocals scale soaring synthlines in the title piece. Melodies dip and swoop like birds in flight. A beat throbs as Maia’s lyrics sail ever higher in this tale of misguided romance and impossible answers. The instrumental version allows the track’s intricate synthwork to take centre stage. Drums snap that bit tighter, gentle pads lapping against the pulsating basslines and addictive hooks. Tempos drop on the flip, the B-Side being dedicated to “Dark.” Slender keys rise above a steady kick before a rumbling bass takes hold. Vocals take spoken word form, their message and mood shifting from resignation to resilience and then resolve as the track becomes ever more emboldened. A truly fantastic return from a uniquely talented group.

Bristol-based provider of tough and sinewy drum & bass, Holsten has proved himself one to watch with successes on UVB-76 Music, Hotline and Rupture, not to mention a clutch of releases on the essential label, Droogs. This EP sees him offering up four battle weapons that lean towards the glory days of techstep. Opener 'Burn' goes for apocalyptic bass and a hardstepping outer shell, finished off with nicely unsettling sonics. 'Service Kru 2' is the roasting Amen-led roller, with Dillinja-esque sidewinding edits, kung fu samples and ravey stabs. Flip it over for 'Twisted Music', tense and edgy rather than full on blasting, while closer 'Projectiles', remixed by Overlook, steams its way to the run out groove with the kind of dystopian intensity that fans of classic No U-Turn will be very comfortable with. Producer and label alike are both on the rise, so get on it.

Marking his vinyl debut on Lowpass, Berlin-based producer APRS steps forward after a run of striking releases on labels such as Soma, ARTS and Sungate.

“Drift” explores human emotions through drums, melodies and textures with five pieces that refuse to settle into one shape. Each track bends the EP in a new direction without breaking its thread, holding onto a sense of vastness, detail and intimacy. Andy Martin closes the record with a remix that widens the palette even further, pushing the material into heavier terrain while keeping its spirit intact.

LWP001 is less a declaration than a first gesture. Intuition over uniformity; a label shaped by instinct, variation and space; a place for artists to wander and for sound to evolve freely.

With over 20 years of intense production work and prestigious collaborations, Irie Ites Records has established itself as one of the most respected reggae labels on the international scene. In 2025, the label continues it's strong momentum with a brand-new volume of it's flagship series: Cream of the Crop 2025. Following the success of the previous editions (2022, 2023, and 2024), which each reached several million streams and gained strong visibility in reggae media and playlists worldwide, this new release stands as a must-have for all roots & culture reggae lovers. True to it's reputation for excellence, Irie Ites Records has once again teamed up with some of the finest musicians and producers in reggae: Mafia & Fluxy, Bongo Herman, Earl "Chinna" Smith, Lone Ark, Naram, The Ligerians, King Jammy, Willy William, among others. All tracks were mixed at the Irie Ites Studio (France), ensuring a warm, powerful, and authentic sound. To conclude the album, four exclusive dub versions add the final touch to this outstanding compilation.

Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.

Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.

The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.

On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.

The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.

DJ Support: Gilles Peterson, Osunlade, Lakuti, Sean McCabe, Craig Smith, Marcia Carr + more

JuJu Muzik presents “Counting Clouds,” the newest work from Chicago house pioneer Harry Dennis, whose poetic influence spans over three decades and legendary projects like Jungle Wonz, The IT, and Fingers Inc. Featuring an exceptional lineup of remixers & producers - Rob Redford & Damian Charles with a contemporary soulful rework that nods to classic Chicago, Rude Boy Rupert delivering a broken-beat-infused UK underground twist, Mark Hand with his warm jazz-rooted depth and Julian Garnett offering a signature JuJu Muzik interpretation—the release bridges Chicago’s foundational spirit with today’s global house movement, celebrating the genre’s past, present, and future.

Winding through cavernous and dark meanders, amid gurgling water, rustling sounds, low and deep pulsations, incisive and impactful sound masses, floating waves, crystalline drips, sudden rays of light, electronic spirals, and unexpected openings onto almost soothing soundscapes and quiet environmental stasis, Rod Modell paints musical textures that are apparently abstract and contemplative, but in reality charged with pathos and drama, taking advantage of a spectacular, enveloping and surprising sound quality, in which every nuance and every small detail makes the listening experience even more intense and engaging. A new exciting masterpiece by Maestro Rod Modell.

On his fourth EP on Studio Barnhus, Falty DL’s causing a ruckus again. This time with theeeee house two-tracker of the season, hauntingly sweet harmonics and feverish vocal outbursts on side A, while the flip delivers a flirtatiously discoid stomper full of hidden trapdoors for the deep listener.

WILDSTYLE HOUSE is a new compilation series where Toy Tonics invites producers and DJs that have a very special, funky, unique sound to make one new track. The compilation should show the variability and diversity of house and disco TODAY. Like the wild music mix you can hear at the Toy Tonics events and the way Toy Tonics DJs combine many different styles of "4 to the floor" music into one new soulful, multi-style, and warm-sounding blended "genre." It's about the groove, about a new soul sound, the human feel, the organic and Y2K-inspired dance music that is growing and appeals to a new generation of dance music lovers.

This first part of the compilation includes unreleased music by:

Afro-funk and salsa-house producer talents ELADO, MUSTA, and ALMA NEGRA.

Garage house maestros MELON BOMB and Italian musician DANIEL MONACO (known for his New Wave disco and proto-house releases on Rush Hour and his work for Antal).

MARLA KETHER, the London bass player and DJ, who is known for her work with Little Simz, Oscar Jerome, and Loyle Carner, and has now started to release her own tracks.

Argentinian singer, musician, and DJ ALOT, combining proto-house vibes with Spanish rap.

Funk house producer and edit maestro PAUL OLDER, who is starting to become one of the key names of the new soul house scene (supported by DJs like Folamour, David Penn, Seth Troxler, Kirollus, Breakbot...).

And also Toy Tonics' own GEE LANE, KAPOTE, and ARPY BROWN contributed new tracks.

Back To Life EP marks the rebirth of a seasoned artist stepping into a fresh chapter as
Just Marco. This first record in the Bending Body series comes after a long run of
exploration and self-reset, chasing raw honesty and identity built for vinyl-only cuts.
The record links past and present: rough drum work, evocative pads, bright acid lines, all
pressed on wax to echo the moments and people that shaped Marco along the way.
Musically, Back To Life it’s a blend where nothing is forced, where unusual choices and
imperfections are embraced as part of a renewed creative philosophy. It’s a return to the
music life where intuition leads and authenticity sets the tone.
Enjoy.

Four heavyweight cuts. Zero mercy. Due to leave dancefloor's destroyed - a relentless, floor-shaking display of Wrong'uns at their finest.

2026 Repress

Dasha Rush resurfaces on Sonic Groove, her fourth EP for the label and her hardest offer yet! The Russian born, Berlin based producer drops four fierce tracks decidedly for dancefloor use and abuse. Starting with some enticing meticulous and exciting EBM flavored hard beats “El Kinky” seems poised to be a summer Berlin classic, with Dasha’s haunting vox riding the groove. “Psycho Runner” simply said, is an olympic, punishing piece of acid TB303 techno that will be one of the darkest things recorded this year. Her B-sides take it a little deeper, with the hypnotic, industrial and marching in-your-face flavored sounds on “Gallic Message” and finally ‘Darkness Digital” which presents an , EBM- esque groove, with wild broken hard beats patterned underneath another ear- worm sequence. Another great release added to Dasha’s already prolific discography

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

Natural Goofy & TC80, two close friends and respected producers, have been spending time together in the studio in Barcelona.

No rules, no timeline, just jamming with machines and letting the sound flow in the moment.

The result is NO PLAN EP: a snapshot of instinct over intent, a record shaped by presence rather than plans. A raw dialogue between friends, gear and the dancefloor.

Made with love, for the music.

Released as a limited vinyl-only edition within the Planka Records series, continuing the label’s mission of capturing underground sounds and sharing them with those who listen deep.

Jovak - Version 2 EP
Psychedelic Renaissance (PSYREN001)

Manchester based Jovak, co-runner of Scuttle & resident of Headspin takes reigns of Real Interactions' sub label Psychedelic Renaissance's first release and his first vinyl release.
A 4 track EP spanning from head down electric infused techno on the A side, primed for peak party time to a B side featuring minimal techno & tech house sequel tracks. All containing drops of acid to deep dive into, rolling baseline, melodic synths & vibrating acidic squelch.

Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite.

Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.”

While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.

Visionary producer Ilija Rudman confidently lands into the Black Jukebox catalogue with a truly mesmeric 2-tracker.

Based in Zagreb, Ilija has carved a legacy over more than two decades in the game throughout which he's released over 100 vinyl EPs and 8 studio albums, collaborating with the likes of Robert Owens, Greg Wilson, Faze Action and Ron Trent.

'Euphonia' opens up with a suave slice that melds deep Detroit shades with the flexible Electro funk of Morgan Geist and Clatterbox. A sawtooth bass climbs steps in the low end while gorgeous synths bend and glide at the groove's core. Crisp, delicate drums kick, snap and shuffle as they guide a low-slung, retro-futuristic trip to the moon.

'Late Checkout' draws for a similar sound palette as rich analogue pads form a magic carpet for Prelude-era synth phrases and another sneaking bass line. The tone is elegant and nothing feels forced as Ilija Rudman traverses the vast sonic territory between Salsoul-era Disco and modern Electro-funk in the most fluent and stylish manner.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

Words from the label:

High-octane DC techno drawing from the city’s current atmosphere of tension and angst.

After a peaktime 002 release on Floorspeed just 8 months ago, DC resident techno heads James Bangura & JR2k kick it up a notch with a round 2 of wall-to-wall intensity.

JR2k goes 0 to 60 on the A side with “Hardcore DC” and “Fever Dream” – both tracks road-tested, lifted straight from live set performances earlier in the year and ready to burn a hole through a soundsystem near you. Explosive, relentless and uncompromising techno from the mind behind the label.

Bangura enters the picture on the flip side, combo-ed with JR2k on “Accentuator” – a classic slice of 1⁄2 bar loop hard groove techno conceptuality reminiscent of 2000s Oliver Ho & James Ruskin collab heaters. “Defiance” finishes on a heavy beatdown note, with an extended middle breakdown to emphasize the tension and release of this 4-tracker.

This release documents the legacy of Ranil, the Amazonian singer and bandleader who shaped a distinctive regional style blending cumbia, psychedelic textures and local rhythmic traditions. Born Jorge Raul Llerena Vasquez in 1935, Ranil rose from rural beginnings to front Los Silver's in the early 1970s before founding his own label, Producciones Llerena, to independently record his imaginative, genre-blurring music. His catalogue, long scattered across mismatched pressings, remains a vivid record of Amazonian creativity. Following his later career as a radio voice in Iquitos, this collection preserves key recordings and supports archival efforts that continue to highlight his cultural impact. Check the frisky percussion and euphoric vocals of 'Pueblo', the scratchy guitar and bustling funk of 'Bahia' or the lilting 'Albores De Mi Selva' for proof of just how irresisitble it still sounds today.

defaultbox returns with its 20th release entitled "020".

This various artists compilation brings together five carefully selected tracks by Karenz, Gockel, TIKOA, 10.000 BC, and aem.aze, each rooted in a shared vision of deep, functional techno rhythms and subtle dub-infused textures.

The release comes on a limited run of 50 transparent blue splatter copies alongside the regular black pressing.

Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This is the second of a two-volume release which presents a selection of the best songs from Guinea's Syliphone recording label. This volume focuses on recordings from the 1970s, when Guinea’s authenticité policy had transformed the nation's music through a network of over 30 orchestras, each representing their local region, and each presenting Guinean musical traditions alongside the influences of Cuban music, jazz and funk.