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AMPHIA is honored to welcome UK legend 100Hz to its ever-expanding catalogue.

AMP024, a four-track EP titled "Improviser", is a statement of Lee's long lasting career as a visionary producer.

Combining intricate polyrhythms with an assorted sound aesthetic, each piece has character, as much as it does a mood of its own, seamlessly blending together throughout the moments of a set.
We hope you'll enjoy it as much as we do!

The masterclass collection of deep melodic house & techno sound is going into the 21st round! "Parquet Most Wanted Vol. 21", featuring worldwide supported & breathtaking productions by SOLEE, JAMES HARCOURT, RAUSCHHAUS and NORS KODE. These tracks are already played by A-List DJs like Kölsch, Innellea, Dave Seaman, Fideles, Dosem, John Digweed, D-Nox, Magdalena, Eelke Kleijn, Bebetta, Markus Kavka and many more.

AI-28 arrives as a double-12” reissue of an album titled “Lucid Dreams”. Formerly released in 1996 as a CD on the now defunct UK imprint em:t, the album now becomes available for the first time on vinyl. Produced collaboratively by Chris Allen, David Thompson (both co-founders of em:t), plus label affiliates Tom Smyth and Will Joss, the record features outlier academic and philosopher Celia Green narrating passages of her classic book “Lucid Dreams” (published in 1968), seamlessly embellished with atmospheric soundscapes throughout. 

Brooding amorphously on the cusp of the unknown, the music captures the quintessentially mysterious quality of dreams and dreaming. Layer by layer, the listener is submerged deep into the subconscious stream. The record curls and unwinds with bewildering influence whilst exploring key themes of Green’s studies, with topics covering hallucinatory states, apparitions, out of body experiences, and extrasensory perception. The collaborative handling of samples and sound material comes together powerfully to create a piece that is both artistically theatrical in flavour and sumptuously immersive – a true documentary for the ears and imagination.

The Tel-Aviv centered Yotam Avni officially joined forces with Stroboscopic Artefacts last year, turning in a sensual an invigorating entry for the Monad series. Thanks to his personalized fusion of esoteric and worldly sound elements, Avni immediately made a case to deliver more work to the label, and now he has done so with 'Perlude to Dybbuk,' the second in a new series of S.A. releases to feature the Oblique Artefacts visual team's distinct, elegant portrayals of scanned foliage. As with Avni's previous Monad contribution, the new Perlude to Dybbuk makes references - both in title and in sonic content - to the ancient Hebrew folklore of his homeland (a 'dybbuk' being a kind of limbonic spirit attaching itself to the body of a living human until it has successfully reached its final destination). However, the atmospheric, rather than overt, use of these references gives this record a level of dignity and quality as well as a premonitory feeling that hovers over the proceedings.The opening 'Avka (New Life)' opens with the twin stimuli of chthonic, rolling percussion and ambience that has become a modern Stroboscopic tradition, but ever so gradually deviates from the realm of the easily anticipated. Some of the surprises to be found here are sharp, organic drum fills and sighing strings that have an uncanny vocal quality to them. By the time a surgically clipped acid synth sample comes into the mix, the track has reached a simmering level of excitement and the listener's imagination will have license to reside in a virtual world seamlessly combining elements both ancient and futuristic.Dybbuk' temporarily situates listeners back in brutal modernity, with the first sounds heard being something like insistently slicing helicopter blades. Avni merely uses this as the foundation, though, for a genuinely unique construction whose shamanic beats, throttled horn and undertow of frenzied electronics combine to give the feeling of being menaced and eventually overtaken by a spirit entity. This piece shows just what Avni is capable when operating in a more aggressive, 'post-industrial' mode, and the result stands up with some of the best exponents of that genre.The finale 'Modern Matters' is the most readily club-friendly selection from the disc. This potent, floor-shaking and perspiration-inducing number superimposes resonant vocals from traditional Middle Eastern folk song onto this alchemical mixture of machine oil and sweat, and provides a romantic flair without resorting to naïve, touristic 'ethno-techno.' Avni's skillful dedication to counterpoint, and determination to make a finished form is more than the sum of its parts, shines through here and throughout the duration of this record.

Revered Danish producer and live performer KÖLSCH follows his 2013 hit album "1977" (KOMPAKT 276 CD 107) with the new full-length "1983", again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dance floor. PRIORITY RELEASE

Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft.

1983 features collaborations with Gregor Schwellenbach, Waa Industry and WhoMadeWho's Tomas Høffding.

Hot on the heels of SPEICHER 84 (KOMPAKT EXTRA 84), featuring club crackers DERDIEDAS and TWO BIRDS, the latest full-length offering from KÖLSCH is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", he explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life. My father of course did not like it, and it never grace the official cassette deck of the car, obviously"

These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer. The scenery would change, and so would the mood in the car." Informed by the symbolic quality of these slightly gauzy childhood memories, KÖLSCH's unique melange of emotional and functional elements works exceptionally well for the full-length format - a seamless transition of musing introspection and explosve expression, where catharsis never seems far away in dance-ready techno vignettes like MOONFACE, UNTERWEGS or PACER.

From beatless opener and title track 1983 to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways - TALBOT, THE ROAD and CASSIOPEIA (also featured on KOMPAKT EXTRA 79) make excellent use of GREGOR SCHWELLENBACH's emotive orchestral flourishes, while BLOODLINE's lyrics come to life thanks to the distinct timbre of TOMAS HØFFDING of WHOMADEWHO fame. A new powerful take on an earlier collaboration, PAPAGENO 30 YEARS LATER not only rejoins WAA INDUSTRY on vocal duty, but also ends the album on a wonderfully elegiac, yet hopeful note - basically turning water into wine, as we've come to expect from KÖLSCH.

Our second analysis of frequencies from the void above resulted in a transmission which appears to be the legacy of an ancient intelligence. FTVA02 consists of four cuts by prolific producer Eliaz, where he presents his braided take on electro and acid house.

On the A-Side the record opens with Visitore, a slow and deep acid track which lifts off gradually. With Second Start on the A2, we have a dark and moody electro cut where the drums and textures morph seamlessly with each other.

The B-Side opens with the Coincidental Mix of Everybody In, a powerful yet twisted electro cut where the elements unhinge steadily. Finally B2, 12H/Sun, sucks us into it’s range of acid and electric sounds resulting in a dark journey through the universe.

“Accept the existence of the void as a real entity, in which atoms can move and rearrange themselves”.

Driving anywhere in Texas can cost you half a day, easy. For example, it'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. "Big sky country, that's what they call Texas," Khruangbin bassist Laura Lee says. "The horizon line goes all the way from one side to another without interruption. There's something really comforting about that." On Texas Sun, these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob's in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state's rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you're going-especially if you're in no particular hurry to get there.

Melbourne based producer, DJ and co-founder of Sumac Records, Jon Watts delivers his Butter Sessions debut, Music for 3 CDJs. With over 10 years experimenting as an artist, Jon has an established history with the Australian underground scene. Music for 3 CDJs, showcases two contrasting sides, revealing his ability to seamlessly navigate manifold sounds.

The A-side presents three distinct tracks, thread together with restless percussion and a propulsive force. The introduction to the EP, Prohaasation, is a medley of techno and electro fabrics which progressively build before abruptly halting -- generating suspense for the track to follow. The feverish William gasps and screeches in tones that peak and fall, accompanied by audio maintained throughout; reminiscent of a malfunctioning fax machine. Now It's Done is a choppy and disjointed piece yet coherent in its structure that makes for a rewarding conclusion to the release's first chapter.

Subtlety and minimalism prevail for side B, as Jon gifts us with loops that swirl and churn. AMB 4 marks the first deviation from the narrative of Side A; sounding like hypnotic swelling from the bottom of a deep well. AMB 5 follows suit, divulging more of the picture. Carved out of a sound bed of field recordings, the nine and a half minute piece enchants with its repetitive arc, a spaciousness mirrored in the EP's farewell. The last track Piano 1, is an intricate study of a singular piano chord, examining the layers of the chord's sustain that are disclosed. A testament to Jon's unadorned restraint and confirmation of the old adage that less is really more.

Straight out the gate, Nas dropped a classic. Since the release of the seminal ‘Illmatic’ album in 1994, critics and fans have been wondering if Nas peaked too early and if anything in his subsequent catalogue could be held up against this masterpiece. To be fair, it’s hard to follow up something this flawless, a project that allied his most insightful, pitch-perfect heartfelt rhymes with the work of the best hip-hop producers on the east coast.

DJ Premier, Q-Tip from A Tribe Called Quest and Large Professor all take their turns on the album, along with the unsung L.E.S., but it’s Pete Rock in his prime who provides the stunning backdrop for the cinematic ‘The World is Yours’. It’s a perfect nugget of a single, weaving in the brashness of Scarface, the repetition of a snatch of T La Rock’s early Def Jam gem ‘It’s Yours’ and piano courtesy of Ahmad Jamal’s ‘I Love Music’ from his own timeless ‘The Awakening’ album (1970).

Presented for the first time on 7”, the vocals of the album version and the instrumental on the flip provide the perfect opportunity to enjoy and compare the work of two masters at the top of their game. Pete Rock’s seamless weaving of disparate samples into a compelling whole, the then little-known Nas’ statement of intent. With a maturity beyond his tender years, Nas put himself straight at the top of the pile, this Queensbridge chronicle hinting at the ambition and greatness he harboured within himself.

High quality laquer cut LP with silver and pink pantone colors on cover.

Mutual Intentions is proud to present "Astral Traveling" which is Byron The Aquarius' debut album. A stunning piece of fusion built from everything between jazz, soul, hiphop and house makes Mutual Intentions a perfect platform for the release. String compositions is an on-going theme throughout the album. From the first chord on "Love Is 4U", until the very last second of "Spazzing Out", where Byron raps over a beautiful backdrop consisting only of Fender Rhodes, electric bass & strings. Byron jumps seamlessly between different genres throughout the whole album. From the acid house inspired "Sorry Kari", to 70's prog jazz sounding cuts like "Lost In Love". Once you put the needle on side B, you'll hear "Deep In That ***** feat. MDMA" which sounds pretty much like if Dexter Wansel took MDMA in 2019, inside Legowelt's studio and tried to re-create his classic cut "Theme From The Planets".

Soul legend Gwen McCrae’s All This Love gets a fresh dancefloor reinterpretation from Tokapi Disco Team, the German production duo known for their work with million-selling act Sash!. Ben Liebrand adds his signature touch with extended groove-driven edits, crafted with DJs firmly in mind. Tokapi Disco Team blends a warm, rounded kick with subtle percussion and a light shuffle that keeps the rhythm flowing effortlessly. A rolling, funk-inflected bassline locks in with Chic-inspired piano chords, while tasteful disco strings lift the arrangement throughout. Gwen’s unmistakable vocal remains the emotional centerpiece — rich, soulful and timeless.

The result is a seamless nu-disco and disco-house crossover that bridges classic soul heritage with contemporary club energy.

THIS is Gwen—this is ESSENTIAL.

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

The Rhythm Of Nature’ is the stunning new masterpiece from Andy Compton (The Rurals) and Shamrock!

Written between Andy’s tours in South Africa and Shamrock’s extended UK trip in the summer of 2025, this album embodies their shared mission: to spread positive, joyful vibrations with LOVE.

Here, Soul, Jazz, and African music blend seamlessly through the talents of these two cosmic brothers, connected deeply by their love of making music.

When Andy and Shamrock jam and record, music flows so freely, creating a powerful, spiritual energy.

This follow-up to their 2023 debut album, Soul & Spirit — which still touches hearts worldwide — includes magical songs like ‘Bunny Chow’ and ‘Rosa Mziki’, originally created in Johannesburg and previously released on the Bunny Chow EP, Along with super fresh, unheard gems.

The album also features incredible musicians such as Nekoye Ommeh (Vocals), Pete Morris (Keys), Bongani Sessionist (Percussion), Kafele Bandele (Trumpet), and Charlie Hearnshaw (Sax), adding their magical energies to the soundscape.

Allow yourself to experience the full journey, feel and enjoy every note!

2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

=========================================================

Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

This perfectly formed EP brings together Dutch duo Fouk with a selection of collaborators across four groove-led cuts blending house, disco, and nu-disco influences.

The title track sees Fouk teaming up with The Phenomenal Handclap Band, delivering a vibrant vocal cut driven by warm basslines, uplifting melodies, and classic disco instrumentation. Importantly, both the vocal and instrumental versions appear here as extended mixes exclusive to the vinyl release.

Further collaborations with Archil & Leon and 79.5 continue the EP’s groove-heavy approach, combining soulful vocals, live instrumentation, and dancefloor-ready arrangements.

Already receiving strong support across radio, DJs, and streaming platforms, including plays from Bill Brewster (NTS Radio), Colleen Cosmo Murphy, Dom Servini, Francois K, Graeme Park, Hot Toddy, Massimiliano Pagliara, Pete Herbert, Slothboogie, Tim Zawada / Star Creature Universal Vibrations, Dave Pezzner, Nadiem Shah, Luxxury, Dj Supermarkt, Luke Solomon, Seamus Haji, Sophie Lloyd, J-Kriv, DJ Rocca, Faze Action.

The release has also landed #1 placements on Spotify’s Nu Disco editorial playlist.

With warm grooves, uplifting vocals and strong crossover appeal between disco, house and nu-disco scenes, this EP offers high playability for DJs and strong appeal for modern disco and house collectors.

Italian multi-instrumentalist, composer, producer and vocalist Alex Puddu is returning with at brand new album "Francia Meccanica" A strong set of songs with catchy hook lines and up tempo groove. Taking us back to the late ’80s and early ’90s disco-house production with refined, sexy vibes that introduces eroticism in both Italian and French. It’s a perfect cocktail mix that pairs seamlessly with Alex’s voice and performance, beats, funky bass, acid sax, and sultry French spoken words. Alex Puddu brings pop disco and retro vibes back in trend — always essential to his style and musical world — and sweeps us into wild French nights blending transgression and romance.

We are welcoming a fresh blood from the south of Italy: Delikwe

Words Create Vibrations is a solo EP recorded between 2023 and 2025, where techno and dub foundations merge seamlessly with ambient textures and breaky-step rhythms. Across five tracks, the record unfolds as a deeply atmospheric journey — hypnotic, spacious, and rhythmically dynamic. Sub-heavy frequencies meet shifting percussive structures, while layers of delay and texture generate a sense of depth that feels both physical and introspective. Each composition evolves patiently, acting as a meditation on resonance, movement, and the unseen architecture of vibration.

The A-side presents Delikwe’s original works in their purest form: immersive, restrained, and subtly transformative. Rooted in sound system culture yet open in structure, the tracks balance meditative stillness with rhythmic propulsion.

On the B-side, Australian producer Pugilist delivers a powerful reinterpretation. Known for his refined low-end pressure and deeply immersive productions, he reshapes the source material into a weightier, system-focused experience. His remix amplifies the sub frequencies and spatial depth while preserving the meditative core of the originals, creating a compelling dialogue between exploratory dub atmospheres and grounded sonic precision.

Words Create Vibrations stands as a sonic exploration where rhythm, space, and texture converge into a fully immersive listening experience — crafted for powerful sound systems, late-night sessions, and attentive minds alike.



c a3. Agna Street [Words Create Vibrations]
[d] b1. 6am [Ice Mix]
[e] b2. 6am [Pugilist Remix]

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.