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Acclaimed Swedish multimedia artist and electronic music visionary TOBIAS BERNSTRUP returns with his highly anticipated new 7th studio album, “Shadow Dancer”, on German indie label Nadanna Records.

Known for his fusion of visual art, retro-futuristic aesthetics, and Italo-inspired synthpop, BERNSTRUP’s latest offering dives deep into the shadows of the dancefloor—where desire, danger, and digital nostalgia collide. “Shadow Dancer” marks a bold evolution in BERNSTRUP’s sound, channeling pulsating analog synths, icy vocal hooks, and cinematic atmosphere into a darkly euphoric collection of tracks. The album explores themes of identity, transformation, and nocturnal seduction, blending BERNSTRUP’s signature 1980s stylings with a sharply contemporary edge.

“This album explores the tension between appearance and reality—how we perform identity, desire, and memory in a world flooded with simulation,” says BERNSTRUP. “It’s both a personal and cultural reflection, rooted in the shadowy edges of nightlife, surveillance, and performance.”

Standout single tracks like “Chiaroscuro”, “Legend”, “And The Smile” and “Jackie 60” showcase BERNSTRUP’s unique ability to fuse melancholic nostalgia with dancefloor-ready energy. The album’s visual aesthetic is just as striking, featuring dystopian glam imagery, gothic noir, and sleek, gender-fluid costuming.

Psychedelic and fantastic... Speed is high and the fly is high as well... the level is ecaping the one point zero usual formats and bring the music back to the Dancefloor.. A pure Tribal thing... with a Robert mononom eyeblink (mononom 02 and 03 almost ). Enjoy a true thing. Always. Still. Hopefully there are some !!

"mounaiki - By The Bright Of Nigt" Heißt Das Vierte Album Des Niederländisch-neuseeländischen Trios My Baby. Die Band Ist Bekannt Für Einen Roots-getriebenen Hypnotic-dance-style, Bestehend Aus Elementen Von Psy-trance, 70s Funk, Desert-blues (nordafrika), Gwana (marokko), Raga (indien) Und Einem Touch An Edm, Über Dem Schamanenhafte Vocals Zwischen Gospel, Blues Und Antikem Folk Schweben. Mit Diesem Psychedelischen Stilmix Gehen Sie Quer Durch Europa Auf Tour, Nachdem Sie Bereits Bekannte Festivals Wie Glastonbury (uk), Fusion (de), Sziget (hu), Lowlands (nl) Oder Pinkpop (nl) Gespielt Haben.

Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.

Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.

Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.

2026 Repress

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

10th Anniversary Edition. Forest Shadow Vinyl. Spricht man MITSKI MIYAWAKI auf Glück an, warnt sie nur: ,Glück fickt dich." Diese Lektion findet sich seit Jahren im düsteren Outsiderindiesound der New Yorkerin, doch wurde noch nie so kraftvoll umgesetzt wie auf ihrem neuesten Album ,Puberty 2". ,Glück ist oben, Traurigkeit ist unten, aber das eine ist fast noch destruktiver als das andere", sagt sie. ,Wenn du feststellst, dass du das eine nicht ohne das andere haben kannst, ist es möglich, Glücksphasen damit zu verbringen, auf die Gegenwelle zu warten." Auf ,Puberty 2" ist diese Spannung spürbar: ein sowohl schönes als auch brutal romantisches Hinterland, in dem eine der neuen Stimmen Amerikas einen mutigen neuen Weg begeht.

Temple Needs Water. Village Needs Peace." is a philosophical exploration into the essence of community, spirituality, and transformation.

This 15-track collaboration between producer Real Bad Man and Memphis rapper LUKAH medi-tates on themes of unity, leadership, sacrifice, and renewal. With contributions from billy woods (Armand Hammer), Adrian Utley (Portishead), and Shabaka Hutchings, this album ascends through personal and spiritual achievements, delves into the duality of knowledge, the unseen forces, and the cyclical nature of life and death.

The album reflects on growth, resilience, duty, ancestral wisdom, and the healing power of words, culminating in a celebration of inner peace and communal harmony. With a backbone of musically ambitious beats and soul-baring verses, this album carves its mark as the year's most enthralling listen.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Long overdue, we are happy to welcome Damiano von Erckert to Cocoon Recordings with his debut single, bringing late summer vibes that were well worth the wait. Damiano's lovely energy shines through in this EP, resulting in music that blends soulful character with his signature house sound.

“Steam (Staub Mix)” lifts your spirits from the very first beat, and the summery vibe of the housey Rhodes piano brings a smile to your face. Yet, the track retains a somewhat wistful and melancholy feel. Skillful intonation gives the break a jazzy feel, it's this friction that makes it special. Von Erckert showcases his skill with this playful arrangement, sure to have dancers' hands reaching skyward. The second track “Das Was Not Around” is a masterclass in purism, where simplicity meets profound emotion. Swirly synth pads unfold to create a dreamy, immersive atmosphere, pulling listeners into its depths. Despite its introspective title, a sense of hopefulness permeates the track, as if reaching for light through the shadows. Damiano’s approach allows every element to shine, making the deep grooves and ethereal sounds feel both intimate and expansive. It’s a journey of reflection yet imbued with a quiet optimism that lingers long after the final beat fades.

The essence of reduced Chicago drumming is brilliantly embodied in “Roh”, channeling a raw, stripped-back rhythm that strikes with precision and purpose. This forms the bedrock of a composition that feels timeless. The track carries an unmistakable grandeur, echoing the majestic hymns of certain legendary French artists. As the beats develop, they evoke a profound sense of reverence and nostalgia, seamlessly blending classic house influences with a modern edge. It's a track that honors the roots while confidently advancing the frontiers of contemporary house music. "Fantazia 93" is a nostalgic dive into a ‘90s House vibe, channeling the essence of that unforgettable era with authenticity. Damiano's signature sounds are front and center, infusing the track with a unique touch that’s fresh while reminiscent of classic house anthems. The track exudes an Ibiza after-hour feeling, transporting listeners to those sun-drenched days where time seems to stand still. It’s a sonic journey that feels like sunbeams warming the skin, bathing the senses in a radiant, feel-good energy that resonates long after.

Ediciones Espectro Oculto returns with EOD003, its third release and the opening instalment of a new Split Series — a side each for two artists who deal in the shadows: Mick Wills & Blackmoon77.

Mick Wills handles the A-side in familiar territory, mining the margins of European DIY synth culture for cuts & edits. A1, “Six Six Six Sex”, resurrects a forgotten wave track laid down in 1983 by Venlo duo Carin & Henk, Carin Kollenbrander’s conspicuous, sexed-up vocals carrying the unmistakable spirit of the early-’80s minimal synth underground. A2 cuts “New York” by MCL a new beat staple first issued on German’s Boy Records, tightened into a playful, dancefloor-ready tool. Closing the side, Mick Wills turns to Folkvett’s “Kommando Kamprad” — originally out on Pater Noster Ltd. in 2012 — an ethereal, out-of-body drift that pulls the mood inward.

On the flip, Blackmoon77 doubles down on their signature across three originals: dark, raw and hypnotic wave built for bold & audacious DJs and fierce dancers.

All tracks mastered by Alden Tyrell.

As always, this is a one-time pressing of 250 copies — no repress, and no digital until the vinyl is gone.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

New Stand High Patrol album, featuring Joe Yorke, Nazamba, Jah Thomas - and remixes from Mad Professor, Androo & Jeanville.


Dub and House Music. Two aesthetics born in the shadows, shaped far from the mainstream music industry. Two underground cultures where independence is often a necessity and ingenuity is essential. Two scenes rooted in the margins of society, with dance, sound systems and minorities at their heart.
From the Jamaican sound system sessions of the late sixties, through the nights at Chicago's Warehouse, to the murmurings of the New York house scene in the early eighties — history shows that house, reggae and dub share far more than many people may assume. Collective action, resistance as a driving force, music moving straight from studio to turntable, shared messages: these are the threads that bind these landmark musical movements together. It is at this crossroads, driven by the spirit of experimentation that defines them, that the members of Stand High Patrol found yet another territory worth mapping.
"Skanking & Jacking", the new Musketeerz album, reveals a side of the Dubadub sound never heard on record before. Built for the dancers and for DJs, the LP brings together the pulse of house music and the vibrant groove of reggae. Uncharted territory, never interfaced like this before. The result of a meticulous blending of styles, house, reggae and dub intertwine across 12 extended tracks. The sound is carefully crafted. Built on immersive loops and interlaced with micro-variations that give it an organic texture. Born from the interaction between being and machine. This is not about simply bringing worlds closer together; it's about mobilising influences to chart a new sonic galaxy.


Beyond it's aesthetic statement, "Skanking & Jacking" also stands out for its international cast. The most extensive Stand High Patrol have ever assembled on an album. From England, Italy, Switzerland and Jamaica, the guest vocalists, producers and MCs deepen the sense of dialogue between cultures and styles. At the mic, Joe Yorke, Marina P, Nazamba and Jah Thomas join the Dubadub Musketeerz on their explorations. Each appearance subtly reshaping the contours of the project.
Never fixed, always in motion, "Skanking & Jacking" pays tribute to the traditions that shaped it and closes, as a final nod, with remixes from Jeanville, Androo and the legendary Mad Professor. The album stands as further proof of a crew that shows no signs of stopping its reinvention. Available on stream, digital and double LP on May 29th.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

Cristi Cons makes his Crosstown Rebels debut with his latest EP, ‘Give Me Love’.

The three-track exploration of rhythm, tension, and hypnotic club craft lands on 16th January 2026.
Damian Lazarus’ Crosstown Rebels imprint opens its 2026 release schedule with a special label debut from Romanian favourite Cristi Cons, as he delivers a magnetic three-tracker in the form of his ‘Give Me Love’ EP. Known for his precise, minimal-infl ected approach and unwavering command of groove, Cristi’s arrival onto the label brings a release that distils his signature tension-and-release architecture into some of its most direct club form yet.

The title track, ‘Give Me Love’, unfolds with subtle vocal refrains, shadowy atmospheres, and a rolling, elastic groove built for late-night momentum. On the B-side, ‘Can You Hear Me’ channels a sleeker, more hypnotic pulse, with dubby textures, restrained bass pressure, hooky vocals, and a snaking groove to keep dancers moving. Closing the EP, ‘You Ain’t Got Nothin’ brings vibrant synths, tight drum programming, and more captivating vocal use into a head-down trip that leans into Cons’s innate ability to craft late-night and early-hours journeys.

A longstanding architect of Romania’s influential underground, Cristi Cons has carved a reputation through his solo work, his collaborative SIT project with Vlad Caia, and their shared imprint, Amphia, which now stands as a true force within the minimal landscape. Alongside regular appearances across Europe’s key institutions and collaborations with revered names, including Raresh as part of their Verico project along with Caia, Cristi continues to evolve with each release - and ‘Give Me Love’ delivers yet another side to his diverse sound as he steps into the Crosstown Rebels fold to open the year.

Tooflie's shadowy crate-diggers return for their sixth expedition, this time unearthingmelodic relics from the sands and stone of the SWANA region. The A-side opens with acharismatic locally-well-known Boris Timur from Azerbaijan, reshaping his half-crimechanson half folk music into a slinky, percussion-driven anthem that sways betweenmysticism and dancefloor intent. A2 dives deeper into the vaults: a cryptic cut built onearly hip-hop and electro intonations, stitched together from dusty Middle Easterngroove samples, looping like a mirage between past and future.
Turn to the B-side and the spotlight falls on a modern folk icon turned global cult heroOmar Souleyman. The first interpretation is a peak-time techno weapon, packed withfrenetic energy and built for ecstatic release. The closing track shifts gears in a slower,contemplative breakbeat journey that delves more deeply into the dabke tradition,stretching its spiraling melodies and communal pulse into a pre-dawn dreamstate.Once again, Tooflie fuses archival echoes and electronic invention into a spellbindingvinyl-only dispatch for dancers and diggers alike.

Demon Music Group are delighted to confirm the signing of ‘Night Mirror’ – the fourth solo album from electronic music legend, Claudia Brücken. • Written and recorded in London between 2023-2025 with longtime collaborator John Williams, ‘Night Mirror’ is a stunning collection of 10 brand new songs, suffused with optimism, loosely bound by themes of reflection and rebirth. •

Having first come to notice as the lead singer of Düsseldorf electronic music pioneers Propaganda, one of the first signings to the celebrated ZTT Records (Frankie Goes To Hollywood, Art Of Noise, 808 State), Claudia’s striking image and distinctive vocals made her one the most influential and inspiring female musicians of her generation. Propaganda enjoyed chart success with hit singles like ‘Dr Mabuse’ and ‘Duel’ and their 1985 album ‘A Secret Wish’ is frequently cited as one of the landmark electronic pop albums of all time. • In subsequent years, along with collaborations with the likes of Wolfgang Flür (Kraftwerk), Martin Gore (Depeche Mode), ACT, Andrew Poppy, Andy Bell (Erasure), and Peter Hook (New Order). Claudia was most recently in the limelight fronting the reimagined xPropaganda whose 2022 album ‘The Heart Is Strange’ garnered ecstatic reviews and reached No. 11 in the UK album chart. •

On ‘Night Mirror’ Claudia is reunited with musical partner John Williams, whose work as a producer, writer, engineer, and record label head has seen him work with such luminaries as The Housemartins, Alison Moyet, Blancmange, Simple Minds and The Proclaimers. Contributing to the album are an accomplished series of musicians, whose credits include The Lighthouse Family, Cathy Dennis, Orlando Weeks (The Maccabees), and Kaiser Chiefs. • This LP release is presented on Dark Cherry vinyl. • This is a priority release for Demon, and we will be supporting with full retail, press, radio and online campaigns.

Folwark is a duo composed of Francesco Marcolini (guitars, synths, vocals) and Tommaso Faraci (drums, theremin, vocals). Their music fuses syncopated rhythms, introspective loops, and psychedelic mantras, forging an intense connection with listeners that transcends sound, reaching into emotional and spiritual depths. "All Shadows Stretched" blends heavy grooves, psychedelic explorations, and deep spiritual themes, creating a rich and immersive listening experience. The band's signature dynamic setup of guitars, drums, theremin, synths, and vocals shapes a powerful, emotionally charged soundscape. Produced by Folwark, mixed and mastered by Lorenzo Stecconi (Amenra, Ufomammut, ZU).

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.

Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.

The Invisible Road: Original Recordings, 1985–1990 compiles an unheard, previously unreleased body of recordings by Sussan Deyhim and Richard Horowitz, dissidents from diametric backgrounds who met during the heady days of Downtown New York in the 1980s. This collection reveals the creative and life partners’ radical shared vision of avant-garde pop in all of its boundary pushing freedom, combining Deyhim’s singular approach to vocalization, Horowitz’s invention of new musical languages, and touchstones of traditional music from around the world, creating a new music that ultimately retains a voice entirely its own. Despite their difference in backgrounds and respective journeys, at the time of their meeting in the early 1980s in New York City, Sussan Deyhim and Richard Horowitz were both products of the search for freedom and understanding (and resultant awakenings) that swept the globe and helped culturally define the late 1960s and 70s. Deyhim, born and raised in Tehran, spent her teens dancing with Iran’s Pars National Ballet company, performing weekly on Iranian national television, and travelling her home country studying with master folk musicians and dancers, before relocating to Belgium and joining Maurice Béjart’s prestigious Béjart Ballet of the 20th Century. Horowitz, born and raised in Buffalo, New York, had spent much of the decade before abroad, first departing for Paris under the shadows of the Vietnam War, where he studied piano, Eastern philosophy, and became entrenched the city’s free jazz scene, playing with the likes of Steve Lacy, Anthony Braxton, and Alan Silva, before embarking south to Morocco where his friendship with Paul Bowles helped cultivate a deep passion for the country’s musical traditions and a shift in his musical practice.



The pair met by chance sometime in 1981 at Noise New York, a small studio on West 34th Street founded by the musician and recording engineer, Frank Eaton, as a utopian creative laboratory that beckoned artists and bands like Arthur Russell, Christian Marclay, Liquid Liquid and Butthole Surfers into its orbit. Both artists had recently relocated to the city, Horowitz having recently released his debut album, Oblique Sequences (Solo Nai Improvisations), on the legendary Paris based imprint Shandar, and fallen in with members of New York avant-garde like La Monte Young, Jon Hassell, David Byrne, and Brian Eno, and Deyhim having begun to more actively incorporate singing into her practice, notably recording a vocal score for choreography she was doing at La MaMa Experimental Theatre.



Initially bonding over a cassette tape of field recordings made by Paul Bowles that had been given to mutual friend and writer Brian Cullman (seeking answers for Ornette Coleman’s question “what is the sound of sound”), their earliest collaboration was documented on Horowitz’s 1981 album, Eros In Arabia, with Deyhim contributing vocals to the track “Queen Of Saba.” Over the coming years, their deep connection would routinely gravitate them into the studio, culminating in the body of recordings that would appear on their 1986 album for Crammed Discs, Desert Equations: Azax Attra. Unknown to nearly all but the artists, laying in wait over the decades on numerous multi-track and stereo reels, DAT tapes, and reference cassettes, were a vast array of recordings made by Deyhim and Horowitz bookending Desert Equations. The 13 pieces represented on The Invisible Road: Original Recordings, 1985–1990 were recorded largely between Noise New York and Daylight Studio in Brussels, during a period that Deyhim describes the partnership between herself and Horowitz’s as seeking a music “free of any specific cultural reference, with a personal musical signature,” blossoming into a body of sonority that embraced the energy of contemporary boundary pushing pop and the avant garde, filtered through their mutual love and study of various musical traditions from across the globe and deep engagement with the ideas and tactics of experimental music.



Undeniably rooted in Horowitz’s study of the North Africa ney and the music of the Berber and Gnawa cultures during his time in Morocco, Deyhim’s deep engagement with the folk traditions of Iran, and the couple’s immersion in the interconnected Downtown underground music scenes, each piece on The Invisible Road offers its own vision creative and cultural hybridity. Deyhim sings in both English and Farsi, as well as a composite tongue that she developed by drawing upon numerous indigenous vocal techniques from around the world, intuitively responding to Horowitz’s simultaneous sound syntax forming and combining a wide range synthetic and acoustic instrumentation, and experimental tape techniques, within a visionary series of free-standing expressions.

Emerging from the shadows and plumes of smoke, Chicago, IL ensemble HUNTSMEN are set to make their return in 2024 with their third album, The Dry Land, set to be released via Prosthetic Records on June 7. On their first full-length in four years, HUNTSMEN’s The Dry Land traverses the liminal space between the living and the dead by lifting the veil of the abyss itself. Born of suffering and hardship, The Dry Land unifies the dark and light that resides in all of us through allegories of purgatorial strife and human spirit. Following the release of their sophomore full-length, Mandala of Fear, in 2020 and The Dying Pines EP in 2022 HUNTSMEN’s intervening years between studio albums were marked with devastatingly contrasting highs and lows. Whilst their body of studio work continued to garner acclaim from fans and critics alike, chronic illness would become a recurring uphill battle for the ensemble. As these jarring mixed fortunes reached their apex towards the end of 2022, the band reached towards each other outside of their craft as old friends. Taking stock of four years of tribulations led to a reevaluation of what it is to be creatives and, in turn, ushered in a collective rebirth. Writing sessions saw a number of artistic firsts for HUNTSMEN, most notably with the first full collaborative inclusion of vocalist Aimee Bueno-Knipe. The creative process soon saw HUNTSMEN adding more black metal influences into their Americana and folk tinged doom, evidenced most overtly on tracks such as This, Our Gospel and lead single In Time, All Things. Elsewhere, HUNTSMEN’s knack for finely crafted and richly layered melodies offer moments of resplendence on the slow burning Lean Times and closer The Herbsight. Mirroring the circumstances and environment that led to its creation, The Dry Land’s pacing is one rooted in the art of rise and fall dynamics both musically and lyrically. Tales of escaping religious violence, malevolent apparitions and death incarnate all play key roles throughout the album’s narrative thread. HUNTSMEN treat each tale as both exorcism and exaltation, adding a pervasively unsettling quality to The Dry Land that is sure to stick long after the runtime is over. The Dry Land was recorded and mixed by Pete Grossmann at Bricktop Studios before being placed in the hands of Brad Boatright for mastering, with the resulting sound adding a towering grandiosity to the album whilst simultaneously highlighting HUNTSMEN’s newfound corrosive qualities. The Dry Land’s striking cover art was created by Derek Setzer, depicting an immolating dancer in high contrast black and white amongst rusted gold. Through the fire, HUNTSMEN find themselves reborn on The Dry Land.

DJ Subaru has already made their name exciting dancers with offbeat anthems and obscurities as part of their luminous Pleasuremaxxx parties, alongside similarly inclined soirees in Leeds, London, Berlin and beyond. Making their accomplished production debut on CWPT with 'Lots of Love', DJ Subaru instinctively mines the expressive, outsider strains of disco, Italo and pop pleasures in their record bag, revealing an EP that throbs with the pleasures, pain and potential of a life in strobes and smoke.

Vocalist and muse Tiss Vampiric emerges from London’s shadowy underground to lend their voice to the brooding, disco-Gothic track, ‘My Love’. Stalking a moody paradise amongst DJ Subaru’s EBM-oriented synthesizers, their baroque lyrics conjure an atmosphere that bridges the energies of subversive pioneers such as Soft Cell and Ministry, a sensual maze where denial only leads to more devotion, as well as more dancing.

Keeping the lights dim but brightening the corners, the prolific cosmic disco pioneer Prins Thomas reinvigorates his legendary ‘Discomiks’ approach for a euphoric remix of ‘My Love’. Incorporating DJ Subaru and Tiss Vampiric into a dancefloor canon that also includes Lana Del Rey, Pet Shop Boys and the Chemical Brothers, this classic arrangement has been road-tested to build euphoria, joyfully reflecting menace from mirrorballs.

The latter portion within 'Lots of Love' leaves us entirely in DJ Subaru’s musical visions. The only voice on ‘I <3 You’ is soft and robotic, intoning the track’s simple title over a lush, caramelized groove that’s pure circuits and sentiment. In contrast, the moody pads of ‘Just Visiting’ build to a crescendo of breaks and basslines that capture more urgent early hours energy, while ‘She’ provides a beautifully naive melody and a slightly balearic touch for a wide-eyed kiss goodbye.

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

With nothing more than a Gibson Les Paul slung over his shoulder, a warm amp turned all the way up, and a hot microphone on and ready, Jared James Nichols churns out the kind of rock that rips, roars and rolls without filter or apology. The Wisconsin-born and Nashville-based singer, songwriter and guitarist delivers a one-two punch of gritty vocals straight from the gut and incendiary fret fireworks. After earning widespread acclaim from the likes of American Songwriter, Guitar, Guitar World, Relix and more, tallying millions of streams, and packing houses at countless shows, he showcases every side of himself on his 2023 self-titled third full-length offering.

Hey Joyce (BlackCash & Theo Edit) by Lou Courtney b/w Soupy (BlackCash & Theo Edit) by Maggie Thrett | Galaxy Sound Co. — GSC45-36 If you know, you know. & I know many of you have been digging for the very rare donut “Hey Joyce” by Lou Courtney. Even if you first heard it back in the day via #CutChemist & #DJShadow, this gem has long been popular amongst #raregroove dancers & dusty-fingered hip-hop DJs/beat-makers. “Hey Joyce” is a rare 1967 single from soul man Lou Courtney. Featuring a rasping, impassioned lead vocal from Courtney, sweet female backing vocals & the kind of semi-stomping beat that's so beloved by Northern Soul heads. In 1991, Main Source sampled it on their track “He Got So Much Soul (He Don't Need No Music)”. & thanks to the fine folks at @galaxy_sound_company you can cop it all for yourself.

On the flip, we have another lost funk jam, “Soupy” by Maggie Thrett, that has been sampled by #PrincePaul & #DeLaSoul for 1989’s “Jenifa Taught Me (Derwin's Revenge)”. Black Cash & Theo do the track right with a proper edit that'll put smiles on faces all across the dance floor. Like the A-side, “Soupy” is also a fave of Cut Chemist & DJ Shadow, as evidenced by their live sets & sample of it for their 2008 track “Fused Of Course”.
As with all GSC45s, another true must-have treat & 45-crate essential.

After opening the dimension door via a hypnagogic contribution to recent Ruf Kutz comp 'Expansion Pack 2: Textures' and offering a sonic submersion into his 'Deep Waters Mixtape', Inner Glow takes the controls for RK18, treating the DJs and dancers to a high grade house triptych.

For the uninitiated, the man behind the music is a lifelong friend from Ruf Dug's Sydney sojourn, when the two would host mushroom squat parties with the rest of the "Bodega Clan", and who helped mastermind the seminal Paradise Lost warehouse parties. Virtuously patient, the Australian spent the years since perfecting his craft, maxing out the XP and emerging as his evolved form, Inner Glow.

On the A-side, Inner Glow comes through with the two clubbiest cuts from the 'Deep Waters' cassette, unmixed, mastered loud and exclusive to vinyl. Already a firm favourite with Bradley Zero 'Party People' pulses on the A1, its one note bassline and taut pads keeping tension at a maximum. At the top of the frequency band sparse stabs and nuanced percussion dance in tandem, while the deft use of E-Smoove and First Choice acapellas provide an underground intertext Sprinkles would be proud of.

'Call Me' coaxes us into the shadow realm with the lure of Lynchian dialogue, slowly taking shape as a dub techno phantom. It's a heads down affair as urgent subs push against the mist of static, until a rising, wriggling keyboard riff unwinds waists with a hint of UKG exuberance.
Inner Glow brings the beatific on the B-side's 'Love Has No Age', combining rippling keys and MK vocal chops over waves of hiss and haze.
The percussion combines classic house swing with the tinny hats of electro, keeping perfect time as the soulful vocals swell into the sublime.

Over the last twelve months Ruffy's rocked the spot from Pikes to Houghton with these heaters, and now he's sharing them with you.

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

Moiré's rain-streaked and masterful Circuits album dropped this past September. RA's Andrew Ryce stated the eight-track album cast the shadowy producer into "a rarefied air occupied by the only the finest and most influential of ambient techno artists."

Now, in short order, the label returns with a remix EP charting out multiple hubs of oblique dance floor innovation. If there's a sonic motif on the A-side, it's vastly reactive interpretations of the "factory floor" element that inspired techno's pioneers. Matthew Herbert, a pioneering force in his own right, mixes steam engine percussion with the dreamy atmospherics of "Circuit 15" and comes up with eight minutes of cerebral machine funk. Tolouse Low Trax, meanwhile, continues his masterclass in modern motorik on his remix of "Circuit 7," integrating a chiming piano into a fascinating, perfectly-timed 110 BPM rhythm.

The B-side, meanwhile, doubles down on the oneiric nature of the original material. Workshop head and Avenue 66 alumnus Lowtec builds allows "Circuit 04"'s synths to billow into Gas-like immersive layering, sheets of melody are anchored by a restrained beat for an ambient techno track that doesn't tip the scales too far in one direction or the other. Rather, it achieves a perfect balance. Hamburg/Dial mainstay Lawrence closes things out with his version of "Circuit 18," which also concludes the original album. While the original has a wistful, Deckard's dream quality, Lawrence's version is deeply-rooted in the late-night German style; a low-slung bassline will keep dancers deeply rooted while those wistful chords sweep in like the violet before dawn.

Please welcome Barış Karademir, Istanbul's edit master, DJ, and musician with Insanlar on Live At Robert Johnson!

If you're a person that likes to get up late, Barış's first track »Noon« is the one for you. It sort of sets the mood for the whole EP with a groove that is deep and hypnotic and above all psychedelic. There's tremolo en masse plus these in and out fading voices that suck you into Mr. K's world - all kept together by this steady forward marching Barış beat. Pleasure, joy, and happiness - all in on groove - and not only effective at noon.

»La Dame Noir«'s most prominent feature is a mean bass line - plus more of those otherworldly sounds that Barış manages to pull out of his magician's hat while creating a superb shuffling riddim for all you dancers to shuffle along to, throwing in that oh so subtle triangle now and then.

With the last track »Valhalla«, Barış enters the mythological place of Asgard, where Valhalla, Odin's hall of the slain can be found in his Glaðsheimr castle. That kinda sounds a bit archaic and dark but don't be afraid: where there is shadow there is also light - light which can be heard in the first opening lines, lines that do sound a bit like played by our favorite shoegazer band "My Bloody Valentine". To get to Valhalla, Barış accelerates the tempo by a couple of beats, yet throws in all trademark ingredients to cook up a tune for peak time dancing in Valhalla … erm … I mean in the club.

So yes, please let us invite you to Barış K's wonderful world of sound - you won't regret it.

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.