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With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.

Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.


Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you

With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.

Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.


Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you

‘In Virus Times’ is an acoustic instrumental piece by Lee Ranaldo.
Composed during the pandemic, ‘In Virus Times’ is released as a onesided LP with an etching on Side B. The cover is a beautiful photo by
Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas.
 Originally released as one track as part of a collaboration with Lucien
Jean for Le Presses du Reel, the music was featured on a mini CD that
accompanied a book that featured two short stories.
 ‘In Virus Times’, released by Mute, sees the track transformed into 4
pieces and is available on transparent turquoise vinyl with digital
download and an exclusive poster, designed, signed and individually
numbered by Lee Ranaldo. The poster design is based on an electron
microscope photo of the COVID-19 molecule.
 Lee has written some of his own ‘loner notes’ for the release:
 “This recording began on an evening in September 2020, stuck at home
in lower Manhattan during the dark days of the Covid-19 pandemic as
we came out of a deadly summer. A heightened sense of anxiety
stemming from the then-upcoming US Presidential elections as well as
the virus seemed to pervade all aspects of life, for myself and everyone I
knew. Its minimal quality reflects the sense of ‘motionless time’ that
many of us felt. I set up some microphones in our darkened living room
(studios being closed due to Covid restrictions), coaxing out one simple,
repetitive phrase, and then another, sounding them out into the air. The
casual home ambience - a siren or truck rumbling down the street out
the window; someone talking around the table in another part of the loft;
water running - intrudes at points. I worked to develop a few simple
thematic elements, but mostly I wanted to hear the notes and chords
ringing out, hanging in the air for a long time on that evening when the
world seemed close to stopped on its axis.
 “I’d been listening closely to Morton Feldman’s catalog throughout the
pandemic. His sparse, long-duration music could often be heard playing
on repeat as we spent endless days locked inside. His willingness to do
very little, with very simple elements, and to such profound effect, has
been inspirational. I found the vast open spaces in his works thrilling,
miraculous, and comforting in those empty times. Additionally, the Drop
D guitar tuning used here has prompted my own variations on Bach’s
works for solo cello, open strings droning against melodic lines, so
simple and perfect…” - Lee Ranaldo, New York City, August 2021

A joke that doesn’t make you laugh is just a sentence. Music that doesn’t make you dance and feel is just noise aimed in your direction. To make a circuit where energy flows freely, you must have feedback. Without feedback, connection is absent. As Limousine Dream enters the Age of Aquarius, we open up. Instead of trying to grow, we let it grow. Instead of building a pyramid, we see a constellation where we are all stars, and every star can equally stand out and fit in. We invite you to join us, just like we want to join you. This is where we begin our Life Spiral.

&Co. debut on A Quiet Village. The US-based trio drop the third release on Quiet Village’s eponymous imprint March 20th. &Co. Is a project from multi-hyphenate and Bianca Chandon founder, Alex Olson, pianist, composer and producer Alberto Bof (known for his work on ®Oscar ®Bafta ®Golden Globe and ®Grammy award winning ’A Star is Born’) and DJ/fashion luminary, Paul Takahashi. The trio’s second release, ‘Staycation’ follows 2015’s ‘Best of Friends’, and sees these rare talents create a two-tracker that explores a uniquely evocative, cinematic and dubby Balearic aesthetic. ‘Staycation began as a follow-up to the first EP, Best Friends.

As a result, ‘Staycation’ came together in fragments. The first track was built over a handful of short studio sessions, each only about an hour long, driven by brainstorming and reworking ideas. With Alex away, Alberto and I continued refining the piece in Los Angeles, sharing updates for Alex’s approval until it was completed. The track remained unmastered and was quietly circulated to a small circle as a promotional piece. The second track, “Lean Like a Cello,” was initially conceptualized together. However, with Alex now based in New York and less available, we completed the arrangement in Los Angeles, sending versions back and forth for Alex’s input and feedback. Nearly a decade later, the idea resurfaced, and the recordings were finally mastered and released. A friend, Justin Van Der Volgen, handled the mastering. What began as a plan to give the tracks away as a promo evolved when Justin encouraged the group to shop the release. With help from Eric Duncan of Rub N Tug, the music reached Matt (Edwards, aka Radio Slave/ 1/2 of Quiet Village).

Ten years after the first sessions, Staycation arrives as a document of distance, collaboration, and time. A project shaped as much by separation as by shared intention.’ (Paul Takahashi, Feb 2026)
A piece of art from a powerhouse creative team operating at the intersection of skate culture, music, design and fashion, ‘Staycation’ by &Co. Arrives on The Quiet Village 12” and digital/streaming on March 20th.

Following his debut on ICONYC in late 2024, Italian producer Daniel Tagliaferri returns to the label as Ivory with "Want", a four-part suite that deepens his sonic language and sharpens his emotional vocabulary.

With a precise command of space, rhythm, and tension, "Want" feels less like a follow-up and more like a statement of intent, one that situates Ivory among the most sensitive sculptors of the modern dancefloor.

Following their contribution to the ‘Florilegia’ series, Thessaloniki-based duo Momery returns to the chambers of ICONYC with their first, fully-fledged EP, ‘Still Love You’.

Comprised of three blistering cuts, Charis Giachanos & George Papadopoulos’ new record offers a chromed, holographic picture brimming with an irrepressible sense of the modern underground at every turn.

Following their contribution to the ‘Florilegia’ series, Thessaloniki-based duo Momery returns to the chambers of ICONYC with their first, fully-fledged EP, ‘Still Love You’.

Comprised of three blistering cuts, Charis Giachanos & George Papadopoulos’ new record offers a chromed, holographic picture brimming with an irrepressible sense of the modern underground at every turn.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.



He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

Outstanding Dub! Subset returns to Primary Colours with Gathering The Threads, a record that feels reflective rather than declarative. Following recent work with Echo Inspectors on “Youthman” and the measured pulse of “Impedance” from the Antipodean Dubs compilation, this release settles into its own pace. There is no sense of urgency here, only continuation. Across four originals and a remix from Pugilist, the collection leans into low frequency weight and spatial awareness. The grooves are patient. The arrangements are economical. Each element is given room to sit in the mix without excess.

With a soaring, emotionally-charged sonic signature all his own, Sam Goku returns to Dekmantel for his latest four-track EP, Bliss Drift.

As Sam Goku, over the past few years Robin Wang has edged into the beating heart of the contemporary house and techno scene with a rejuvenating sound that reaches from peak time maximalism to immersive introspection. Across a run of acclaimed albums and EPs — including 2024's Radiants on Dekmantel — he's balanced the heavyweight impact of his rhythms with mesmerising melodies and swirling atmospheres. It's precisely this blend he brings to Bliss Drift, writing and recording from the heart and accurately capturing what he describes as a sense of blossoming — "a renaissance into something new yet familiar."

Make no mistake, this is music to make you move. 'Rhythm Drift' and 'Bliss Drift' lead on rock-solid rhythms as springboards for Goku's ascendant tones. Airy, mysterious pads and sampled choral voices meet with glistening chimes that soften the tough edges of the drums — a quintessential demonstration of how to make a tender banger. 'Warm Soils' strikes a deeper, more meditative note enriched with haunting flutes and a heads-down roll to the percussion, while 'Infinity Keys (Sina's Song)' lets rich layers of melodic sequencing dictate the pace in a poised demonstration of techno composition at its most expressive.

Catching the mood as the Northern Hemisphere heads out of the winter months, Goku's unique energy hails a return to the light via four distinct twists on the house and techno tradition.

RAWAX welcomes Valerio Vaudano to the artist family!
We are very happy to present you this talented producer from Italy with two parts of "The Sampling Theory" on CHIWAX.
High energy House at it's best!
Highly recommended!

UnOwn deepen the intrigue of their debut record with a second clutch of shadowy edits, again courtesy of the elusive Fava Luva and Dr. Professor. First up is the airy, mystical 'Sent Ra' which drifts on a Balearic current with an aquatic pulse and low-slung groove. It's for late-night moments on intimate floors and is hella steamy. Flip it and 'Love Giver' is more extroverted but just as sensual with teasing spoken words opening up before a swaggering, gentle groove and deft keyboard flourishes awaken and coalesce into a boogie-tinged delight. Anonymous in name, perhaps, but unmistakable in taste.

The crew behind the freshly minted Secret Vault imprint are keeping their cards close to their chests, with the accompanying press release loosely explaining their desire to prioritise dancefloor "heat" over spoon-feeding information to buyers (and in this case, Juno reviewers). The secrecy makes sense, though, because these uncredited cuts are heavyweight disco edits - and fantastic ones at that. Our shadowy heroes first extend and (we think) lightly speed up a slap-bass-sporting slab of disco-soul gorgeousness full of dewy-eyed female lead vocals, extended breakdowns, glistening guitar solos and punchy. Over on the flip, our scalpel-wielding fiends turn their attention to a bouncy, energetic and infectious disco-funk gem topped off by expressive male lead vocals.

Thessaloniki is a hotbed of electronic talent. Tendts are testament to this. The triumvirate of brothers Christos and Fotis Papadakis, joined by guitarist Elias Smilios, have carved out a truly unique sound. Blending disdainful punk with synth‑pop sheen, the group arrive at the Bordello with Ghost Boys. Cymbals crash in the title piece, a lone key circling percussive precipitation before rich guitar strings bring balance and ballast. The song, an emotion‑stripped story of missed opportunities and narrowing prospects, is sensitive and sharp; an emblazoned anthem to the lost and forgotten. Distilled down to a powerful essence, the radio version focuses on the throaty message, meandering synth melody, and smoky strings.

Lauer steps in for remix duties, dipping the original into a blue acid‑electro syrup before it re‑emerges as a fresh‑faced reimagining, its chorus lanced with vocoders while a minimal melody simmers beneath Chicago‑style knob twists. Taking another direction, Boys’ Shorts melt broken‑beat revelry into their countrymen’s original. Smilios’ guitar riff becomes a central column around which samples spin and house warmth emanates. Sheer quality from needle drop.

Next in the vinyl-only Kontra-Musik White Label series is a new collaboration between founder Ulf Eriksson and the label's most prolific artist, Andreas Tilliander, also known as TM404. The record opens in housier territory and ends with the deepest of dubs. In between, the duo carve out a distinct sonic language through two stripped, old school Detroit techno-inspired cuts, built around rolling basslines, subtle swing and a dense sense of depth.

Different strokes for different folks. The celebrative 11-track 'xoxo' compilation, originally pressed as a 3xLP, is now also available as three separate EPs. On EP 1, Legowelt lures you in with Bos Ochtend Mist, before Aurora Halal's deep chords on Spiral send you ascending. Antenna's Break Flute shifts the pace and prints a ghostly image on your retina, and SFV Acid rolls the credits with UrbanFury128, a groover that goes down smooth.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

Wolfgang Haffner is one of Europe's most respected jazz drummers, known for his impeccable sense of timing, groove, and atmosphere. Though rooted in jazz, his musical language transcends genre boundaries, guided by pulse and subtle nuance rather than tradition alone. For Cocoon Recordings, he now enters an entirely new dialogue, offering warm, organic reinterpretations that honor the spirit of the source material while opening a fresh sonic horizon. The result is a meeting of two artistic worlds where Sven Väth's timeless energy and Haffner's refined touch flow naturally into a new musical form, an encounter between two artistic universes, merging into something both unexpected and deeply musical.

Fusion is a groove driven piece built around a clear, flowing melody, allowing Haffner to reinterpret it acoustically through a jazz lens. Its straight, driving pulse lets him explore the track's rhythmic and melodic interplay with clarity and nuance.

L'Esperanza, originally a dreamy, trance like track, envelops listeners in strings, filtered downbeats, and a playful synth melody, a perfect canvas for Haffner's warm, organic touch. Its ethereal layers and subtle tension allow him to explore the track's emotional depth while preserving its entrancing charm.

Barbarella, emblematic of Sven Väth's early 90s vision, carries the energy and innovation of a club classic. Haffner's reinterpretation transforms it into a rich, acoustic exploration that honors its hypnotic essence. By emphasizing the track's iconic motifs and underlying drive, and by drawing out the track's essential elements, he bridges its electronic origins with a new, organic perspective.

Together, these three reinterpretations form a cohesive journey that celebrates the timeless essence of Sven Väth's music while revealing a new dimension through Haffner's masterful touch, a release that invites listeners to experience familiar classics in a completely new light.

The label Erdgeschoss celebrates the freedom of sound and vision at the bar of life, like football – only with a bass drum instead of a ball. And with beer. Because even with vinyl records, the ball has to go in the net.

Pop Vampires Cologne will kick things off; their surrealist debut masterpiece, Karianne, was already released at Total 25 last year. PVC lives up to its name. Like vampires, oskø and Wassermann once again sample their way through the pop supermarket of unlimited possibilities.
Almost overnight, in their illegal, digital garage, they clone hybrid sound structures, saturated with both foreign and self-injected blood doping. Forbidden fruit is known to taste the best. Consciously, explicitly, and provocatively, PVC explores sampling as an indispensable stylistic device, a universal tool for quotation and pop networking. Equally daring and respectfully irreverent, they oppose the new, all-disenchanting AI search engines on the internet with the freedom of art. The rest is surrealism. Just like the accompanying video, which isn't a video in the conventional sense, but rather a kind of making-of with Sabine as the main front character. And the digital versions of some tracks may differ slightly from the vinyl versions.
Because: Anything goes…

Das Label Erdgeschoss feiert an der Theke des Lebens die Freiheit von Sound and Vision wie Fussball - nur mit Bassdrum statt Ball. Und mit Bier. Denn auch bei der Schallplatte muss das Runde ins Eckige.

Den Anfang machen Pop Vampires Cologne, deren surrealistisches Debüt-Meisterstück Karianne bereits im letzten Jahr auf der Total 25 erschienen ist. Bei PVC ist der Name Programm. Wie Vampire sampeln sich oskø und Wassermann einmal mehr durch den Pop-Supermarkt der unbegrenzten Möglichkeiten. Quasi über Nacht klonen sie in ihrer illegalen, digitalen Garage hybride Sound-Gebilde, getränkt mit Fremd- und Eigenblutdoping. Verbotene Früchte schmecken bekanntlich am besten. Bewusst, explizit und provokant arbeiten sich PVC am für sie unverzichtbaren Stilmittel des Sampling als universelle Zitat- und Pop-Vernetzungsmaschine ab. Ebenso wagemutig wie respektvoll respektlos, halten sie den neuen, alles entzaubernden K.I. Suchmaschinen im Netz die Freiheit der Kunst entgegen. Der Rest ist Surrealismus. So wie das dazugehörige Video kein Video im herkömmlichen Sinne ist, sondern eine Art Making Off mit Sabine als Frontdarstellerin. Und die digitalen Versionen einiger Stücke sich leicht von den Vinyl Versionen unterscheiden. Denn: Erlaubt ist, was gefällt…

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

Naarm/Melbourne producer Mistr Dean delivers the first release on the city’s newest label, Lower Power, a nine-track double LP rooted in Dub influences.

The project is at its core, a journey that progresses through ambient and house adjacent soundscapes, to methodically constructed grooves. Phase Shift, Solanin, Automagic and Send Dub all exemplify the consistency and range of the record, and Dean’s clear ability to build clean tracks from the ground up.

While it has a clear cohesive identity, Phase Shift leans into a diversity of sound and feel, suitable at points, for the bar, club, couch or frankly, any function you feel.

IN2POL rounds out the record with a remix of the title track that brings its own distinct weight to the LP’s sound and, to no one’s surprise, it truly is a weapon.

Credits:
Mixed by Mistr Dean
Mastered by Brendan Zacharias at Cirius Audio

Experience ‘stardust’ like never before with this stunning limited edition coloured vinyl. Spin Freya Skye's sensational vibe, including her viral anthem "silent treatment", and let every note shimmer with starry energy! Each vinyl comes with an exclusive Freya Skye poster for every fan to enjoy! Available on translucent cobalt blue vinyl.

2026 Repress

Trickpony rightfully return with their sensual sophomore record, a six track tip of downtempo anthems elaborating on the sonic blueprint established through Pillow Talk (STEP11). Contemporary trip hop revivalists at the core; the trio specialise in new age pop collages, stripped, subbed and dubbed for your pleasure. With whispered secrets tangled over atmospheric decay and hooks that tug at heartstrings, the trickpony DNA is embedded deep in the musical discourse; “24/7 Heaven” elevates even the most devious to a divine higher place.

From top to tail slung breaks crash like waves, rolling and seeping into opulent synthesis which fills the room. Sometimes music can say a thousand words without a single lyric; Ripple and Trick Trick fixating on textural constructions, layers of harmonic delight working in unison with forward thinking percussion patterns. Angel and No/Direction delve deeper into a more sparse, stripped back landscape; delayed fragments with room to breathe between vocal stylings that will lodge themselves into your memory one word at a time.

Closing with a psychedelic exploration, Memphis Light derails structure formula and drum&bass starts to feel technicolour. With an understated maturity exuding from all angles, STEP17 offers an introspective assortment of illustrious songs ready to reach into your subconscious.

With her third album, composer and bandleader Jasmine Myra has stepped confidently into the next stage of her unique musical explorations. Where Light Settles is a cohesive artistic statement from a distinctive and confident voice in UK music, and a significant evolution from the critically acclaimed Horizons (2022) and Rising (2024). Nine beautiful and powerfully grounded compositions express an accumulation of the artist"s ruminations on life, growth, and progression, powered by her vision of duality. "It"s those bittersweet moments which are heart-breaking but so important. Looking forward and trying to make sense of life," she says. "Pain is unavoidable, and you"ll have hardship no matter what, but you don"t grow or learn about yourself or the world around you without it. The duality is the growth and coming out the other side. I had the concept from the start."

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration. 

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.
This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.
Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly addictive cultural hybrid of styles.

Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.

Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.

Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.

Parris returns to his and Call Super’s can you feel the sun imprint with Drippin’. A four-track love letter to the amber-lit glow of communal field maneuvers in the dusk on his most house-focused and personal release yet.

Continuing the themes explored on 2024’s Passionfruit EP, Parris embarks further down his unparalleled sound path on Drippin’. His latest solo outing draws inspiration from vivid memories of yesteryear, particularly experiences at Watching Trees Festival and various trips to Amsterdam, and subsequently constructed with friends in mind to play out. The resulting four tracks encompasses some of his most intimate material to date.

The title track bursts with measured fervour and a raptor-like throb, percussive configurations in tight pistons which induce rave friction hysterics across the dancefloor melee. Got Me Feelin’ dramatically switches tact, a sentimental roller entangled in swooning pads and R’n’B vocals while swigging lovingly from the ecky spring. True Vargo stomps further with acute hedonism, a sun-descending swooner that flows effortlessly in melodic serenity. Closer Crooning In The Trees leans most wayward, an evolving scene architected by Parris’ uncanny samples and disassociated groove that purrs with wide-eyed wonder. Another stand-out release from one of UK club’s most unique voices.

First ever vinyl release of this massive classic psychedelic black rock funk compilation. Lovingly reproduced for audiophiles on black vinyl and packaged in a fully artworked sleeve and labels and shrinkwrapped. Limited edition vinyl press! “One of the best compilations of formerly released material ever made. A classic” “The whole compilation is pretty damn sweet, but anything dug up by Iron Knowledge is essential listening”!

Mit Robot feiert Caravan Palace den zehnten Geburtstag eines Albums, das den Electro-Swing neu definiert hat. Der Pariser Ausnahmeact vereint auf beeindruckende Weise energiegeladene Club-Beats, cineastische Retro-Ästhetik und eine unwiderstehliche Jazz-Sensibilität. Zum Jubiläum erscheint das Werk nun als exklusive Doppel-LP mit vier bislang unveröffentlichten Remixen - ein Geschenk für alle Fans, Sammlerinnen und Vinyl-Liebhaberinnen. Die Edition umfasst die ikonischen Singles "Lone Digger", "Aftermath", "Wonderland" und "Comics", die den Sound von Caravan Palace weltweit geprägt haben. Mit ihrem Mix aus Future Swing, Electro, Funk und pulsierenden Streicher-Hooks schaffen sie eine Klangwelt, die gleichermaßen nostalgisch wie futuristisch wirkt. Robot bleibt ein Meilenstein der modernen elektronischen Musik und zeigt auch zehn Jahre später, wie innovativ und zeitlos diese Band klingt. Die Jubiläums-Edition ist die definitive Art, das Album neu zu erleben - kraftvoll, tanzbar und voller musikalischer Liebe zum Detail.

No Drama, the label founded by Roy Rosenfeld, continues its vinyl and digital series with a new release from Eli Nissan, an artist whose work consistently rewards close listening.



The musical material unfolds over 15 minutes and 4 seconds, offering a concise yet layered statement.



While Hedonism opens with driving percussion and a flexible groove, layering textures and effects into a high-energy, immersive cut built for peak-time moments, Shout closes the release with a deeper, more introspective direction, blending vocal samples with a laid-back, psychedelic flow balancing repetition and variation to create a sense of elevation and continuity.



Concise, versatile, and DJ-ready, the fifth edition of the No Drama catalog continues the path with clarity and purpose.

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Visionary producer Ibrahim Alfa Jr, who's been traversing the rave's farthest fringes since the late '90s, returns with his most focused and concise set to date, an anthology of undulating, bass-heavy experiments that surveys techno and its distorted history, printing fractured pulses and cybernetic synths over vanishing snapshots of jazz, funk, trip-hop, broken beat, dub and ambient music. It's a body of work that coalesced during a difficult time for Alfa.

After returning to Brighton and sobriety in 2022, he was diagnosed with a pulmonary embolism, subsequently suffering two debilitating heart attacks. With his immune system compromised, isolation was the only option, so for months on end Alfa devoted each waking hour to his art, recording samples, building digital synths and effects and meticulously sequencing some of his waviest, most experimental material to date. Over this period he finished over 500 tracks, writing impulsively and constantly challenging himself. "There was nothing to hold me back," he explains. "I just had music, I didn't know if I would see the next day."

Now recovered from his ordeal, Alfa looks back at this prolific period with optimism and fondness. It was a chance for him to reconnect with his art holistically, writing purely for himself without any outside influence. Because, at this stage in his life, Alfa has already been through a series of artistic evolutions. When he was still just a teenager, he penned a slew of grinding, jacking techno 12"s (under a variety of mysterious monikers) in the late '90s before re-emerging a decade ago with the acclaimed 'Hidden By The Leaves', an album made up of deeply personal archival tracks that were thought to have been lost. A few years later, Alfa returned wholeheartedly with a series of records for Mille Plateaux that redrew the boundaries of his "Black political music without words." And on 'Infinite Black Inside', those different strands are muddled with Alfa's profound life experiences and he expresses himself free of any self-imposed boundaries, writing quickly on a hybrid analog-digital setup to document as many ideas as possible.

There's a palpable sense of liberation that drives the album's opening track, 'Subutrax', lubricating polyrhythms that isolate the connective tissue between footwork and Detroit techno as they slip between looped electric piano vamps and vaporous synths. On 'Naked Lunchbreak' meanwhile, the beat generation's excesses are illustrated by mesmeric fast-paced acoustic drums that Alfa balances out with brassy drones and euphoric keys. He captures rubbery hits from a Ghanaian djembe on 'Drum Slinger', re-sequencing them into seismic waves that rumble underneath live woodwind blasts. And on 'Capture', decelerated breaks and garbled voices tumble into humid pads, suspending the album somewhere between the chill-out room and the night sky. It's a record of new beginnings and fresh narratives that collapses the hardcore continuum, revealing a sonic signature that's Alfa's alone.

Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Karman Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape.

The moods of the album are varied yet share a sense of reverence and exploration. On Karmen Cantala and All Is Chip’s flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. Low Orbit takes things in a funkier direction, arrangements with Steve Parry’s horn (including the unusual instrumentation of bassoon, French horn and tuba) channelling 1970s Quincy Jones and the loping swagger of Archie Shepp’s Mama Too Tight. The Celestial Matari and Molecules recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane’s masterpiece The Elements, and Earthly Elements gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef’s Psychicemotus and Roland Kirk’s Blacknuss.

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

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

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