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As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

From a Beaumont Bar is Pug Johnson's third full-length album and his most complete collection of heartbreak songs to date. Rooted in classic country storytelling, the record draws from the bars, backroads, and late nights that shaped him, turning years of lived experience into songs full of regret, humor, longing, and hard-earned perspective. Written with the benefit of hindsight, these stories don't try to rewrite the past—they simply tell it. From barroom anthems and dancehall shuffles to slow-burning ballads, From a Beaumont Bar captures the moments after love has gone wrong, when all that's left is memory, acceptance, and another round. While Beaumont, Texas provides the backdrop, the album's themes reach far beyond one place. It's a record about heartbreak in all its forms, told with the wit, warmth, and honesty that have become Pug Johnson's calling card. Rich with pedal steel, fiddle, accordion, and timeless country grooves, From a Beaumont Bar is both a tribute to traditional country music and a reminder that the best songs don't just tell stories—they make you feel like you've lived them.

Fukuoka, early '80s. In the backstreets of Hakata, between neon lights and moonlight, three figures shaped darkness and grey shades from the Far East. The "Moonlight" EP and all the Neo Museum rarities finally collected in one vinyl release: the most ritualistic and lunar side of Japanese new wave shines again.

LP w Silver foil print sleeve + Hype Sticker)

Revisiting the sound and spirit of Jazzy Sport, rooted in Japan and carried forward by a new generation. Compiled by Nina Yamada, featuring Cro-Magnon and Grooveman Spot, with remixes by DJ Mitsu the Beats and Idjut Boys.

Founded in 2002, Jazzy Sport emerged at a particularly fertile moment in Japanese music. Beginning as an independent label and record shop, with its first store in Morioka and Jazzy Sport Music Shop Tokyo opening in Shibuya the following year, it became a home for artists including GAGLE, DJ Mitsu the Beats, Cro-Magnon and Grooveman Spot. Its releases moved freely between hip-hop, house, jazz, broken beat and live musicianship, helping define a distinctly Japanese strain of open-minded club culture.

But the music was only the beginning. Jazzy Sport developed into a network of record shops across Japan, alongside its label and distribution work, apparel and design, dance studios, and a Morioka record shop joined to a bouldering gym. These were not unrelated side projects. They expressed the same founding idea: that music, sport and everyday life could come together to create community.

PAST FORWARD: SILVER marks the first release on the Jazzy Sport London label, distributed by Time Capsule. Established in 2022, the London project first took shape through parties, radio shows and community collaborations connecting Japan and the UK. This compilation carries the Jazzy Sport archive and its values forward through a new generation.

At the centre is Nina Yamada, the daughter of one of Jazzy Sport’s core members. She grew up within the community that shaped the collective, and her selection is not a conventional greatest-hits survey, but an inside view of the catalogue and an intergenerational handover made audible.

The music moves naturally between hip-hop and house, electronic production and live performance. That openness has always been central to Jazzy Sport, where club music, musicianship and community are part of the same conversation rather than separate scenes.

DJ Mitsu the Beats’ remix of Cro-Magnon’s “Eclipse” brings the refined, soulful depth that makes him such an important figure in Japanese beat music. Idjut Boys’ deep, dubwise Cro-Magnon rework reflects the long exchange between Japan and the UK, while Grooveman Spot’s “Do The Dance” finds a sweet spot between acid-tinged 808 groove and warm soulfulness.

Elsewhere, Nubian Lady’s “In☆Flu☆Enza” draws on Detroit techno and Chicago house but sharpens those influences into something lean and distinctive. Physical Sound Sport’s “Magical Kalimba” captures the communal energy and openness of a live session. Bottom Fly’s “Rhyme Or Reason,” rooted in Morioka, pairs rough-edged beats with mellow samples and a quiet sense of nostalgia.

What comes through is not only the strength of the individual tracks, but the sensibility that connects them. That keeps PAST FORWARD: SILVER from feeling like a nostalgic best-of. For longtime followers, it offers rediscovery; for new listeners, a way into the breadth of Jazzy Sport; and for DJs, a selection made for the record bag, not just the archive.

Some tracks just refuse to age. A record that needs no introduction, Veracocha's Carte Blanche now returns on vinyl, reigniting the legacy of a track that shaped the sound of trance and continues to move dance floors more than two decades on.

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday Am

Somehow it feels fitting that 1+1 equals not only 11, but also the two slabs of vinyl carrying Henry Hodson’s music here. A small inside joke, perhaps, but also a sign of how naturally this record came together: instinctive and shaped with intention. Hodson — who first appeared on Limousine Dream and later with a subtle and beautifully controlled EP via Silky Beats — continues his trajectory between deep house warmth and minimal clarity. These six tracks are drawn with the sort of fine-grained rhythmic detail that rewards attention without ever demanding it. Light-footed percussion, elegant restraint, grooves that breathe. The double 12’’ format isn’t a gimmick; it’s a commitment. Each track gets the physical space and sonic depth it needs.

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday

Third time’s a charm, or possibly an anomaly. Johannes Volk returns to Running Back for another five exercises in perception, memory and dance-floor physics.
Following Extra Dimensions and Lightweave, this third instalment finds Volk continuing his particular way of making machine music feel strangely human and vice versa.

Shining Force starts somewhere above ground. Gliding across an unfamiliar planetary surface, optical illusions and physical anomalies slowly interfere with the senses. Unknown landscapes,
peculiar vegetation, nature behaving unnaturally: techno as field research. Switching From Bicycle to Spaceship does exactly what it says on the tin, more or less: trading pedal power for propulsion as a deceptively simple groove gathers speed, sheds gravity and quietly leaves the atmosphere behind.

Hidden In Dark belongs to a more immediate kind of archaeology: fog, strobes, bodies and those inexplicably intense emotions that only seem to exist on a dance floor at the right (or wrong) hour.
Back Alley Dancers turns the telescope around and looks backwards. Vocal fragments, pitched, delayed, reversed and removed from their original meaning trigger half-memories of youth, and of
encountering music and culture before you quite understood what any of it meant. Familiar feelings in unfamiliar shapes.
Finally, Drumatury dispenses with introspection and gets down to elementary forces. Morphing bass drums meet a Chicago jacking snare-roll massacre. Drama becomes drumaturgy. Or the other way around.
Five tracks, several states of consciousness, one Johannes Volk. No protective equipment supplied.

Flamingo Pier, the New Zealand–born, London shaped trio of Luke Walker, Dominic Jones and Brad Craig, step confidently into a new chapter with the announcement of their second album ‘Woven Together’ arriving in October. Long celebrated as one of the southern hemisphere’s best kept dancefloor secrets, the group now move firmly into global view with a record written, produced and released entirely on their own terms. Since first emerging with their Kitsuné debut in 2015, Flamingo Pier have carved out a distinctive space in contemporary dance. Their 2019 Soundway EP earned international acclaim was played on BBC Radio 1 and KEXP, with their 2021 debut album featuring jazz icon Nathan Haines.

Further releases on Razor 'N' Tape and Soundway included collaborations with Nigerian disco legend Steve Monite.

The first glimpse of ‘Woven Together’ arrives with lead single ‘Cool Nights’, a modern, playful take on 80s Italo Disco - powerful on the dancefloor yet built for top down drives along the Italian coastline. A late night story of connection and possibility, the track sets the tone for an album that brings Flamingo Pier’s melodic warmth, rhythmic precision and global influences into sharp, confident focus.

Quiet, from the Latin quies, evokes a state of being still. In its verb form, quiet means to clear so that something can gradually come into focus. Kind Stranger by Amedeo Cappelletti is where quiet materializes in a more transient, even foreign, way. Each track takes a step back from noise, borne out of a slow return to music, a different pace, and a familiar place left behind for years.

Kind Stranger, released on Aurora Edition on July 24th, is about the strangeness of a return. Cappelletti's melodic scores work their way between faint noise and disquiet, and sonically muse upon the familiar. That is, when given enough time and distance, the familiar can become unrecognizable, demanding stillness to resituate oneself within it.

The album began taking shape when Cappelletti performed at Aurora Edition at Silent Green, just after he had returned to music following a three-year hiatus. In one month, he wrote forty-five minutes of new material from scratch. Then Cappelletti left Berlin after eight years and returned to the Tuscan countryside where he had grown up, back into slowness.

The album develops as an atmosphere in the truest sense. Resampled voices, found sound, and years of sound design practice converge as compositions form by overlapping texture with spatial depth. Kind Stranger cultivates a quietude that envelops the listener.

Vocal recordings made with Matthew Walsh and Sarah McInerney, collaborators Cappelletti met by chance in a Berlin ice cream shop, appear throughout the album like a current, shaped during a residency at MONOM, Berlin's spatial sound institute. Thematically, the record moves through digital addiction, fragmented attention, and the grief of work done in the darkness.

Kind Stranger is an offering to whoever finds themselves here within the quiet, in this particular quality of sound between return and lingering.

Weirdos Inc. share five chuggy heaters from Glaswegian via London producer Adam Low, aka Pigeon Steve. Leave Some Trace traverses a cinematic palette across five tracks. Euphoric acid, palmy Balearic touches, prog heavy nods to Goa trance. All fused influences shape an original and unique take on club music primed for a proper basement session. Perfect material for any dancefloor moment.

Adam Low has been turning heads over the last couple of years with his DJ sets and finely dialled productions. This EP spins our heads a full 360 on itself. This marks Weirdos’ first release of the year. Hope you enjoy.

At the foot of the mountain. Our gaze is inclined toward the summit.

Toward the ascent. The destination that awaits us.

From the valley, we look up at the summit: our destination. But also the path: the true destination.

We can already trace our route, and we are already imagining ourselves walking up there. Along the small ridge, just above the tree line. There, we take a short break and look for the exact spot in the valley where we were standing earlier. It is strange to grasp that we have actually climbed this mountain. To look down from up here at the place where we were just moments ago – the same place we looked up from, toward the place where we are standing now.

And now, knowing what it is like to be up here, we remember what we imagined it would be like back then. What we believed it would mean to stand here.

Along the way, our gaze wanders back and forth. Up toward the mountain, down into the valley, sometimes only at our shoes. We keep walking, one step after another. Our thoughts detached. Our body functioning purely mechanically.

Step left. Step right. Step left. Step right.

Our mind has completely detached itself, and our thoughts race at an immense speed. They summon the most different moments. Moments from our lives. Moments that shaped us, that made us who we are. Or are we perhaps simply trying to understand who we are and how we got here?

It is strange that reaching the summit and looking down could make us believe that we have finally reached, or are striving toward, some superior, triumphant position. When in fact, it is really only about looking at the path we inevitably have to take. Processing impressions from a certain distance. Reconsidering what we have experienced, without losing sight of what lies ahead.

Our gaze turns back toward the summit.

Is there a destination?

An ascent? A summit? A descent? The return?

Or is it only about the insights we encounter along the way?

Am Fuß des Berges. Unser Blick ist zum Gipfel geneigt.

Auf den Aufstieg. Das Ziel, das uns erwartet.

Vom Tal aus blicken wir auf den Gipfel: unser Ziel. Aber auch den Weg: das wahre Ziel.
Unsere Route kann man jetzt schon abstecken, und wir stellen uns bereits vor, wie wir dort oben laufen. Über den kleinen Grat, leicht oberhalb der Baumgrenze. Dort machen wir eine kleine Pause und suchen genau die Stelle im Tal, an der wir vorhin noch standen. Es ist verrückt, zu begreifen, dass wir diesen Berg tatsächlich hinaufgestiegen sind. Von hier oben auf den Ort hinunterzusehen, an dem wir eben noch waren – an denselben Ort, zu dem wir hinaufgeblickt haben, als wir noch dort unten standen.
Und jetzt, da wir wissen, wie es ist, hier oben zu sein, erinnern wir uns daran, was wir uns damals darunter vorgestellt haben. Was wir geglaubt haben, es würde bedeuten, hier zu stehen.

Unterwegs wandert unser Blick hin und her. Hinauf zum Berg, hinunter ins Tal, manchmal nur auf unsere Schuhe. Wir gehen weiter, einen Schritt nach dem anderen. Unsere Gedanken losgelöst. Unser Körper funktioniert rein mechanisch.
Schritt links. Schritt rechts. Schritt links. Schritt rechts.

Unser Geist hat sich völlig losgelöst, und unsere Gedanken rasen mit einer ungeheuren Geschwindigkeit. Sie rufen die verschiedensten Momente herauf. Momente aus unserem Leben. Momente, die uns geprägt haben, aus denen wir geworden sind, wer wir sind. Oder versuchen wir vielleicht einfach nur zu verstehen, wer wir sind und wie wir hierhergekommen sind?

Es ist schon seltsam, dass das Erreichen des Gipfels und der Blick nach unten uns glauben lassen könnten, dass wir endlich eine überragende, triumphale Position erreicht haben oder anstreben würden. Dabei geht es doch eigentlich nur um den Blick auf den Weg, den wir zwangsläufig beschreiten müssen. Eindrücke mit etwas Abstand zu verarbeiten. Erlebtes noch einmal Revue passieren zu lassen, ohne den Blick nach vorne zu verlieren.

Unser Blick wendet sich wieder dem Gipfel zu.
 Gibt es ein Ziel?
Einen Aufstieg? Einen Gipfel? Einen Abstieg? Die Rückkehr?
 Oder geht es nur um die Erkenntnisse, die uns unterwegs begegnen?

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation. The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric centre where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment. Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham and Anouska Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.

Strut proudly presents an expansive deep dive into the world of Quatermass Sound Lab, the prolific under-the-radar East London studio founded and run by producer, engineer and The Heliocentrics co-founder Malcolm Catto. Over the last two decades, Catto has quietly established himself as a sought-after sonic architect in contemporary music. Revered for his analogue-first approach, he has built Quatermass Sound Lab around vintage recording equipment, valve preamps and live performance, creating recordings that feel warm and timeless. Equally inspired by punk, hip-hop, psychedelic rock, jazz, funk and electronic music, Catto has developed a production style that rejects genre boundaries in favour of instinct and atmosphere. Describing himself as "50% musician and 50% listener," Catto approaches each session as a collaborator rather than a conventional producer. That philosophy has made Quatermass Sound Lab a creative home for an extraordinary range of musicians, from established innovators to emerging voices. His remarkable discography spans collaborations with Yussef Dayes, DJ Shadow, Madlib, Quantic, Mulatu Astatke, Orlando Julius, Idris Ackamoor & The Pyramids and countless others, each project using analogue wizardry to shape bold, contemporary recordings with a character all of their own.

We are delighted to welcome back one of our most cherished artists, Life Recorder, for the third instalment of his remarkable Time Moods series on Visions Recordings.

This latest release delivers four vibrant and immersive tracks, blending deep techno textures with refined grooves, another strong statement in the series.

Far from the hype, French DJ and producer Kriss, aka Life Recorder, has been steadily shaping a distinctive sonic identity over the years. Deeply influenced by the heritage of Detroit and Chicago’s house and techno scenes, his sound travels effortlessly across genres while remaining rooted in soulful depth.

Born in the French suburbs of Geneva and now based in Marseille, he began his journey in the 1990s, connecting with music through record shops, DJing, and the evolving club culture of the time.
With this third chapter of Time Moods, Life Recorder continues to craft a timeless and introspective musical narrative.

Alex and Stephane Attias

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

"After a couple of years shaping her sound in the studio, Budino lands the "Signal EP", a record that grew out of the desire to make music for her own sets. Citing the journey she aims to create in the club as a key inspiration, she certainly put in the mileage, with a booking schedule tirelessly spanning all points of the compass. Although this is her first label-released original record, it's no novice effort: ALT027 shows a confident artist, fully in control, with a distinct vision and the technical expertise to bring it to life. On opener "Stay More", a trippy trance rendition, the sturdy kick and distorted sines leave ample room for mid-bass acid lines to roam freely. In its company, a myriad of risers, gated white noises and delayed fills appear - signifiers within the artist's palette, as will become apparent. "Wireless" features similar crafty sub movement, but this time the drums are infused with conga patterns and other exotic slices of battery. Because of the zest these rhythms bring, the track can keep building for several minutes until a synthesised lead emerges. When that finally happens, the affair really takes off. On the other side, "Alpha 7" rides the call-and-response dynamics between different formant and deep-vibrating leads, its shimmering arpeggios and atmospheric pads adding colour. Closer "1031" provides an organic touch with its live guitar bass pulse and enigmatic, eerie vocals. Amidst ever-evolving micro-frills, a sturdy square lead thrusts it forward. The groove, again, is endlessly seductive. This characterizes Budino's skilled approach: it's often so hypnotic it feels unclear whether the themes materialise from the surrounding, seemingly fluid compositions - or dissolve into them. In any case, these are multi-dimensional cuts you will love getting lost in on a nearby dancefloor."

Across the cosmic boundaries via spiritual exploration and in the void between shimmer and shadow you will find the astral soundscapes of Birds Of Pandaemonium...

Emerging from Brooklyn's late-night music ecosystem, 'Hazy James' Armstrong and Tim Wagner met nearly 20 years ago through the city's DJ and club scene. Each with different but complementary musical backgrounds which included a mix of folk, guitar, DJing, synths, drum machines, country rock, disco, jazz, and rhythm-heavy club music (being just a few!), the duo began various musical endeavours together & "exploring the darkness while pursuing light" which eventually lead to the birth of Birds Of Pandaemonium.

It was only a matter of time that the stars aligned (via an introduction from Shane Watson of Causeway) to bring the Birds onto the musical radar at Sprechen which led to the release of 3 renowned E.Ps and ultimately, their debut album, Eudaemonia. Obscure covers including Idris Muhammed's Loft classic 'Could Heaven Ever Be Like This', the rave defining Born Slippy by Underworld and the post punk/new wave 'On Islands' by New Musik sit alongside original songs shaped by fresh reflections on life, grief, and love with elements of dream pop, shoe-gaze & gothic pop to give wistful and pulse-driven listening experience that is hazy, romantic, and deliberately genre-blurring.

A truly unique listening experience that delivers broad strokes of sunsetting psychedelia and bleary-eyed optimistic, astral dream-pop across all 8 tracks.

Is it balearic? Not really, it's pretty much a genre all on its own (answers on a postcard).

Ossios makes his Yay Recordings debut with two deep cuts that capture the magic of his creative process - summer house excursions shaped by back-and-forth flights and fleeting moments of inspiration.

On one side, Deadbeat opens up his studio a fires up the studio stove with "One Night at the Ranch (Betting the Farm)," featuring vocals from his love soul Elle. Tumbling drums, understated grooves, and subtle house hypnosis unfold with effortless ease.

On the flip, "Drama Is a Game" channels a hazy afternoon in Mexico City, exploring memory and duality through shape-shifting synths and warm, drifting vocals. The result is a deeper, darker journey where emotion and atmosphere remain in constant motion.

Italian sound artist Giulio Aldinucci returns with his 5th album on Karlrecords: "Materia" is unsurprisingly a truly masterfully composed and sound-designed ambient masterpiece that adds perfectly to a series of critically acclaimed albums like “Disappearing In A Mirror” (2018) or “Shards Of Distant Times” – some of which made it onto several year’s best lists.

Giulio Aldinucci is an Italian composer and sound artist from Siena, Italy. His work focuses on ambient and experimental music, blending field recordings, electronic processing, and acoustic elements. Active since the early 2000s, he has released several solo albums on international labels including Karlrecords, Home Normal, and 99chants. His compositions often explore themes of memory, perception, and the relationship between sound and place.

Aldinucci's music is characterized by immersive, multilayered textures and meticulous attention to sonic detail. He constructs expansive soundscapes by integrating processed environmental recordings, choral elements, instrumental timbres, and subtle harmonic shifts. His style draws from both the aesthetics of contemporary ambient and the techniques of electroacoustic music, resulting in works that are at once atmospheric and conceptually grounded. The interplay between organic and synthetic sound sources is central to his approach, blurring the boundaries between the natural world and the constructed sonic environment.

His works have been presented at international festivals. He has also created art installations and multidisciplinary performances. In addition to his solo output, Aldinucci has collaborated with a wide range of musicians and artists, developing projects that intersect sound art, composition, and performance.

Aldinucci about "Materia": "Materia focuses on the idea of sound as a matter, which can be shaped into complex forms by removing excess material from the sound mass.The album originates from the dichotomy between accumulation and subtraction, creating compositions out of frequency-dense audio material in order to unearth what is “hidden” inside the raw sound mass. Unlike sculpture, in music time can be matter too by shattering sounds into milliseconds andrecompose them with a different fragments order, going beyond the traditional notions of rhythm and duration.“

"Dark Flower" is the new imprint by Robert Babicz, launched in cooperation with Systematic Recordings as a home for his own music. Named after one of the defining tracks of his career, it feels less like the launch of another label and more like the opening of a private room: a place for sound, emotion and instinct, shaped entirely by Babicz himself. With „Electric Love EP" he begins this chapter in full colour. After more than 1.000 released tracks and music on labels such as Bedrock, Kompakt, Systematic and Sudbeat, FLOWER0001 is not about proving anything. It is about freedom.

“Electric Love” opens the EP with punchy breaks, luminous harmonies and choral textures that seem to rise above the beat. It is bold, open and slightly unexpected, electronic music with a pulse and a sky above it. "Cuerpo Con Color” brings things closer to the floor: warm chords, fluent grooves and a calm, driving pressure that slowly pulls the body into motion. Across two versions, “Tease Me” closes the EP with a burning bassline, oriental vocal fragments and a seductive tension running underneath. Strange, physical and unmistakably Babicz.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

Longtime Sonic Groove staple REALMZ (Rob D'Atri) makes his long-awaited return to the label with his first release since 2018. Delivering a sharp, clinical transmission of heavy electronic sound design, this record pairs intricate programming with fractured rhythms and dense, driving atmospheres. Echoing the minimalist, metallic energy of classic warehouse techno, it cuts straight to the floor with precision mechanical grooves. Pure, uncompromising underground techno

New York-based Japanese jazz and electronic music polymath Takuya Nakamura presents his debut album Shape The Future - almost 35 years into his storied musical journey.

An expansive double album, the album’s first LP documents a spellbinding live performance by Nakamura recorded at fabric. A hybrid set combining DJing, live electronics, vocals, and trumpet, the set also features studio versions of special collaborations with Shigeto, Currency Audio and Tim Reaper. The second LP complements the first by assembling studio recordings of select album tracks. Altogether the two volumes make for a definitive display of Nakamura’s exceptional musicianship across jazz, DnB, jungle, broken beat, deep techno and more.

Across his career, Nakamura has played Brazilian music, merengue, salsa and straight-ahead jazz. He’s opened for Sun Ra Arkestra, performed with David Byrne, Laurie Anderson, Lee “Scratch” Perry, Wu-Tang Clan, and Arto Lindsay, appeared on sessions with Terry Riley, ASAP Rocky, Goldie, and TV On The Radio, and remixed the likes of Quincy Jones, Sun Ra, Billie Holiday, and The Streets. He’s also played under director and playwright Robert Wilson.

Although the musical past and present of the Tokyo-born, New York-based DJ and trumpet player is undoubtedly eclectic, Nakamura is abidingly steeped in the sounds of jazz and jungle. This’ll be obvious to casual observers who may have seen any viral videos of him. But there’s more to this. The depth of Nakamura’s engagement with these kinds of music, the way they’ve made him into the person he is, the decades-long path they’ve taken him on; to now arrive at the summit of a solo album is all truly remarkable. Shape The Future resonates with every chapter in this story.

In high school, Nakamura’s friends started listening to jazz and jazz fusion, which piqued his interest, especially when they started going to clubs to see it live, where they managed to see US legends like Sonny Rollins play. Eventually he began to play jazz every day and his musical skill emerged early. He soon became obsessed with getting closer to the source of this music, which led to his studies at the New England Conservatory of Music in Boston with George Russell, an influential figure who had taught Miles Davis and John Coltrane. Nakamura drank it in: not only the technical aspects but the sense of a direct connection to “a music culture where Russell and his friends changed harmony forever. I wanted to know how that was possible!”.

This was a radical experience in itself, but then another revolution happened for Nakamura. He was playing in a venue called The Western Front, near Boston and discovered that the elderly owner had his own soundsystem and was playing what was then - in 1992 - only just becoming known as jungle. This was as freeing a musical revelation as his proximity to the giants of jazz was, and in that instant the two things fused. He understood that using technology to fill a dancehall with sound and a jazz musician’s reflexes are all working to the same ends: “You’re always making decisions,” he says, “but it doesn’t have to be really difficult. It’s the truth of the frequencies, and how they’re affecting people’s minds.”

From that moment on, his life path was set. Moving to New York City, he sought out jungle and its offshoot sounds wherever he could find them, gigging and collaborating relentlessly, and gradually developing his own live and hybrid live/DJ shows. Through regular appearances at New York fixtures Zebulon and CBGBs, and continual shows elsewhere in the city, Nakamura developed his live performance and DJing and it was in these environments that he gradually weaved together his twin loves without compromising either, building an international reputation in the process.

It’s only fitting then that his first album, almost 35 years after he first found his musical direction, should be a live one: a window into this never-ending process. Even here, he had to be persuaded that he should make a record. A member of the fabric team got turned on to his music after their daughter saw him play. Of course, as a jungle lover, Nakamura knew fabric – which has a special place in the history of jungle and drum’n’bass – and “had wanted to play there since I was very young.” You can hear the club in the record: this isn’t just a live show, in keeping with his jungle roots, it’s Nakamura duetting with the soundsystem, and you can feel how the emotions in the room would have ebbed and flowed.

This dynamic translates to a transfixing record. Setting the tone with lushly textured ambient and reverberant jazz, Nakamura segues into cinematic breakbeat and stellar fusion, infusing it all with intoxicating low end and hypnotic rhythms. The LP’s midway point locks into mesmeric percussion heightened by resonant echoes of piano and trumpet. There’s an endless pull to this music. Nakamura adjusts the levels for maximum impact throughout, and the overall effect begins to evoke some harmonious hybrid between a jazz ensemble, a classic Metalheadz 12” and a Theo Parrish DJ set. His electric form continues through surreal jazz, intricate electronics and rolling sub-bass velocity, right up to the subtly devastating final cover of Peter Gabriel and Kate Bush’s ‘Don’t Give Up’, with Nakamura’s fragile vocal sitting in the heart of a huge sound.

From Tokyo jazz nights to formative studies and encounters in Boston to his artistic development in New York, Nakamura reaches another milestone with his monumental debut album. It’s a release that happened just the way a Takuya Nakamura record should. In the same way his instincts led him to musical revelations, taking his own sweet time has led him to make one of the most extraordinary debut albums imaginable, all executed in his own singular style. In Nakamura’s world, the universe finds a way.

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.

Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."

The Five Green Moons present Moon 3. The third sphere to find its way into orbit. On its surface the evolution of a many faceted creature has taken place. Now with long, long tentacles and a million mouths the creature dances and sings. Its voice is the sound of the ghost dub ritual. The echo of spirits passing through the translucent veil. The chants of souls lost in the vampire woods. The clap, clap of its limbs colliding is the sound of frequencies being bent into fascinating new shapes by machine/ human hybrids. Post punk dubwise angular electro folk, Pastoral dub, whatever name you give to this music is of no consequence. It is alive and spinning in orbit.

The third Five Green Moons album sees Justin Robertson's sonic pallet blossoming into new exciting shapes. These 11 tracks offer a wide vista of across the frequencies including a truly remarkable and uncanny tale from celebrated author David Keenan on ' To Haunt of the Dark Earth A Spot' that brings to mind a vision of M.R. James merging with African Headcharge. Another refreshing collaboration can be found on 'Message from the Tone Generator' where underground electronic producer Nickelle adds her magical poetry to the psychedelic swirl. This is a bold and magical offering in a time of pastiche where new shapes are drawn from the sketches of the past.

If you need a sonic shorthand imagine Public Image Limited meeting the haunting chants of a new age Incredible String Band. The spiritual tones of late 70's Don Cherry. The whispering psych swooshes from Planet Gong and most importantly a solid bass foundation straight out of King Tubby's studio.

Soft Resonance is a 4-track EP focused on deep, driving techno with a strong sense of space and movement. The tracks are built to work on a system — controlled pressure, solid low end, and evolving atmospheres.
Each piece moves between elevation and grounding: moments of lift and openness contrast with dense, earth-bound grooves designed to lock the floor in place.
Rather than peak-time aggression, the EP relies on tension, resonance, and gradual progression. Rhythms are steady and hypnotic, allowing DJs to shape long blends and transitions. Soft Resonance functions both as a tool and a statement —
deep techno for late hours, focused rooms, and careful hands behind the decks.

Introducing Relik.

A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground

The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.

Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.

Each reissue will be released with permission and in collaboration with the original artists.

R001: The Vortex Archives

Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.

Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.

Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.

A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.

Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.

It's fitting that Mike Jefford is both a photographer and a musician, his music career having slowly evolved like a developing photo coaxes Technicolor images out of the shadows. His sonic palette began taking shape in Medway, Kent with darker, grittier strains: teenage grunge and metal turned into drum & bass and IDM, following the Brighton club scene to Berlin as Positive Centre, until he made a nest in rural Portugal where Laguna Seca’s bright, expressive range would blossom.
A longstanding friendship with Chris Clark supported Jefford’s most pivotal artistic evolution yet, jumping from a decade of techno dusk to music practically overflowing with life as Laguna Seca debuted on Throttle Records.
“O tempo” can mean “the time” or “the weather” in Portuguese, two intensely changing powers whose many different connotations Jefford reflects in a highly varied tracklist. The breadth of climatic catharsis permeates through textural production and songwriting experiments, down into the very bedrock of the album’s engineering process where Jefford traces the long signal chain of time: the amps, desks, and tapes of Motown, the vinyl mastering studio’s intricacies, the Akai samplers that gave modern hip hop its “ghostly and impressionistic” sound, the software that drives electronic music today.
Much as 2026’s O Tempo was inspired by vintage tonality, retro aesthetic, and the likes of CAN, Kraftwerk, and Jimi Hendrix, it’s not an exercise in nostalgia; this is music that could have only been made with today’s technological advancements, revelling in anachronisms and collisions between hindsight and present tense.
It’s tempting to view Jefford’s projects as opposites, but they come from the same sonic values. Positive Centre’s “bleak” and “sinister” world is also incredibly detailed, constantly updating pile-driving grooves with microscopic flourishes and vast ambient swells. The flaring psychedelia of Laguna Seca is a continuation of those textural, material, and kinetic explorations, where plate reverb splashes, blistering and crunchy beats, vocal glimmers, and guitar swagger are all glued together by recurrent themes of memory and time. As each of his projects travel to the same destination, all of Jefford’s roads have eventually led to vibrant colour.


Cosmic Romance presents the debut album from Sua Galera, a vibrant 8-track journey shaped by friendship, late-night sessions, and a shared love for groove-driven music.

Formed in Dortmund, Germany, located in the middle of the multicultural region Ruhr, Sua Galera brings together nine musicians who first connected through the city’s jazz music scene. Led by keyboardist and producer Eskil Bauer, the collective channels a multinational identity, reflected both in its sound and its name: “Sua Galera,” Portuguese for “your crew.” With vocalists with Brazilian and Moroccan background at the forefront, the project naturally blends diverse cultural influences into a warm and cohesive musical language.

The album moves effortlessly between Brasil funk and Mediterranean-inspired grooves, all filtered through the timeless sound aesthetics of 1970s and 1980s studio productions. Recorded through countless nights spent both in the studio and immersed in live music culture, the record captures the spontaneity and chemistry of a band deeply connected through performance and collaboration.

Perfectly aligned with the Cosmic Romance universe, Sua Galera’s debut delivers an organic, soulful, and rhythm-forward sound designed for DJs and listeners seeking emotionally rich groove music.

Twenty years after the release of Anjanas, Pablo Bolivar returns to the album that marked the beginning of his distinctive and deeply emotional approach to electronic music.

Originally released in 2006, Anjanas became an important milestone in Pablo’s musical journey, introducing the atmospheric textures, hypnotic rhythms and subtle emotional depth that would shape his sound for years to come.

To celebrate its 20th anniversary, Pablo has revisited and remixed every track, bringing a fresh sonic perspective while preserving the essence and timeless character of the original album.

More than a look back, Anjanas 20th Anniversary is a dialogue between past and present — a personal reimagining of where it all began, seen through twenty years of experience, evolution and musical exploration.

DALGA – A Selection of ’80s Pop Oddities from Turkey is the first compilation to bring together rare Turkish pop oddities from the 1980s, and the first compilation to explore how new studio technologies shaped the sound of 1980s Turkish pop and dance music. Features six tracks that were released only on rare cassette tapes.

In the aftermath of Turkey’s 1980 military coup, collective music-making gradually gave way to studio-based production, as drum machines, samplers, and synthesisers took centre stage. From the early 1980s onwards, these technologies became increasingly popular among Turkish musicians and producers. While some sought to emulate the global pop sound of the era, like Neriman’s “Sever Gibi” and Füsun Önal’s “Takma Kafana” others experimented by blending electronic elements with Arabesque, as heard in Mehmet Pekün’s “Anca Gidersin” and Zorbeyler’s “Bir Mumdur” or with Anatolian pop influences, such as the studio project Tele Tempo’s “Şu Samsunun Evleri” and “Havada Bulut”.

Let these waves carry you through the electrified tides of 1980s Turkey.

DALGA is compiled by Istanbul-based beat maker and digger extraordinaire Grup Ses.

Blending shimmering disco grooves, warm analog synths and soulful vocals, Luna Soul bring together the elegance of the 70s and 80s with contemporary disco pop. Formed by German singer Lisa Michèle Lietz and Spanish guitarist Jordi Arnau Rubio, the band creates music that feels equally at home on the dancefloor and during a quiet drive home after midnight.


Following the release of their debut album „First Move“ (2025), Luna Soul have established themselves as an internationally touring live act, performing more than 50 concerts each year across Germany, Spain, France, the Netherlands and Denmark. Airplay and features on radio stations including Deutschlandradio Kultur, Radio Eins, NDR and Bayern 2 introduced the band to a growing European audience.


With their new album „Second Nature“ Luna Soul expand both sonically and emotionally. Written between tours and shaped by constant movement, the record explores themes of change, longing, resilience and the search for genuine connection. Ten new songs unfold like scenes from a midnight movie. Synthesizers, guitars and soulful melodies accompany stories of long journeys, quiet conversations, fading memories and the hope found in new beginnings. The album’s first singles, “Only Human” and “Down The Line” capture the two emotional poles of the record. „Only Human“ embraces vulnerability and acceptance with an uplifting warmth, while „Down The Line“ moves through nocturnal cityscapes, combining cinematic intimacy with the pulse of the dancefloor. Together they introduce an album that feels equally suited to solitary late-night drives and crowded dancefloors.


Live, Luna Soul perform as an multi-national four- to six-piece band, seamlessly moving between disco, sophisticated indie pop, yacht rock and atmospheric slow-burners. Their performances combine musical precision with emotional immediacy, inviting audiences into the same cinematic world that defines „Second Nature“.


„Second Nature“ defines Luna Soul‘s most mature artistic statement to date, a record less concerned with nostalgia than with preserving fleeting moments before they disappear.

Mighty Music is proud to announce the release of "What Are We Waiting For", the brand-new studio album from Danish rockers ELECTRIC GUITARS. The band's sixth studio album marks a bold new creative direction, with drummer Morten Hellborn taking over production duties and leading Electric Guitars into fresh sonic territory. Recorded at Medley Studios Copenhagen, "What Are We Waiting For" is the first Electric Guitars album produced without founding members Soren Andersen and Mika Vandborg behind the controls. The final mix was also handed over for the first time, with former Duné member Ole Bjorn shaping the album's modern and forward-looking sound. Despite its contemporary production, the album features more guitars than ever before, while deliberately moving away from traditional blues-based and classic rock formulas. Every song was carefully evaluated, resulting in what the band considers its strongest collection of material to date.

That infamous bassline from Mr Fingers timeless 'Can You Feel It' has been featured in various shapes and forms, over the years, but definitely never like this !

This rework by UK producer Diesler has been circulating as a secret weapon among a small circle of DJs for years, but it's never been available to the public until now.
Blending together percussive latin rhythms, B-Boy breaks and Chicago 4/4s...all put together, it becomes a serious DJ weapon.

For good measures there's also a highly percussive dub version on the flipside...if you wanna work the floor a bit deeper.

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.

Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.

Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).

Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’

Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.

Gold vinyl. Norwegian folk/prog collective Lumsk returns with Einsemda, a dark, emotional and deeply atmospheric new album based on selected poems by Tor Jonsson (1916-1951). Following their acclaimed return after a long hiatus with Fremmede Toner, Lumsk have continued to refine their distinctive blend of progressive metal, folk rock and evocative Nordic storytelling. On Einsemda, the band moves even deeper into the emotional core of the material, shaping music that amplifies the tension, vulnerability, beauty and darkness of Jonsson's poetry. Jonsson's writing is known for its lyrical clarity, emotional intensity and stark contrasts between hope and despair, closeness and distance, life and death - a natural match for Lumsk's powerful and nuanced sound.

A State Of—Trance 25 Years - The Official Anthem Collection celebrates a quarter century of one of electronic music’s most influential movements, curated and driven by Armin van Buuren.

As the visionary behind A State Of Trance, Armin has shaped the global trance community through his radio show, events, and unmistakable sound. This definitive collection brings together, for the first time, the best of the official ASOT anthems, tracks personally championed on the world’s biggest stages and synonymous with unforgettable festival moments. From euphoric climaxes to deeply emotional journeys, these anthems trace both the evolution of trance and Armin van Buuren’s enduring influence.

More than a compilation, this release is a tribute to 25 years of leadership, passion, and connection on dancefloors worldwide.

For twenty-five years, A State Of—Trance has united trance lovers around the world, evolving from a radio show into a global movement and one of the most influential brands in electronic music.

To celebrate this remarkable milestone, Armin van Buuren presents A State Of—Trance 25 Years - Selected Highlights, a special mix featuring a personally curated selection of ASOT tracks that highlight some of the biggest moments, memories, and milestones from the past quarter century.
Bringing together timeless classics, scene-defining anthems, and exclusive new interpretations, the mix also includes brand-new remixes of beloved ASOT favorites by some of today’s most exciting trance artists, including Andrew Rayel, ReOrder, Matt Fax, and Dan Harrison.

Honoring the past while embracing the future, A State Of—Trance 25 Years - Selected Highlights is a celebration of the music, artists, and global community that have shaped the journey—twenty-five years together, all united by one sound: A State Of—Trance.

CFUNK 050 is presented as a special collector edition commemorating the 50th Cyberfunk release. The package celebrates more than two decades of the label's music, artwork and visual identity.
The accompanying booklet brings together artwork from across the Cyberfunk catalogue, including labels from some of Quest's biggest and most memorable releases, alongside a personal retrospective from DJ Quest looking back at the creation of the label, the artists who shaped it and the journey back to vinyl.
Dedicated artist pages introduce DJ Quest, Paket, Destroyers, Code BreakerZ and Groovebox, connecting the artists behind release 050 with the wider story of Cyberfunk and the international breakbeat community that continues to support it.
More than simply a four-track 12", CFUNK 050 is designed as a physical celebration of Cyberfunk: its records, its artwork, its artists and the people who have kept the sound alive.


Cyberfunk reaches release number 50. To mark the milestone, DJ Quest opens up the Cyberfunk archives for a special four-track vinyl release featuring new interpretations from Paket, Destroyers, Code BreakerZ and Groovebox.
CFUNK 050 connects the label's original UK Bassline Breaks foundations directly with a new generation of producers. Each artist has been given the freedom to reinterpret classic Quest material in their own style while retaining the character, bass pressure and dancefloor attitude that made the originals unmistakably Cyberfunk.
From Paket's reworking of Muffled Mayhem and Destroyers' take on Cybanet, through to two very different versions of Back To The Old Skool from Code Breakerz and Tech House maestro Groovebox, the release moves across modern breaks, heavyweight club production and rolling groove-led territory.
It is both a celebration of 50 Cyberfunk releases and a statement about what comes next.

A1. DJ Quest feat. Yoof - Muffled Mayhem (Paket Remix)
Spanish breaks heavyweight Paket takes on Muffled Mayhem, retaining the attitude and personality of the original while rebuilding it for contemporary dancefloors with heavyweight drums, powerful bass and the polished low-end pressure that has made him a leading figure in the new generation of Andalusian Breakbeat.
A2. DJ Quest - Cybanet (Destroyers Remix)
Destroyers turns his attention to Cybanet, pushing one of Quest's darker electronic productions firmly into modern club territory. Futuristic electronics, heavyweight rhythm programming and serious dancefloor pressure meet the machine-driven character of the original.
B1. DJ Quest - Back To The Old Skool (Code BreakerZ Remix)
Code BreakerZ completely re-engineer one of Quest's defining tracks for a new generation. Their acid-tinged, hard-hitting approach injects fresh energy into Back To The Old Skool while keeping the hooks and attitude that made the original such an important Quest record.
B2. DJ Quest - Back To The Old Skool (Groovebox Remix)
Groovebox closes the release with a deeper, tech house, groove-led interpretation. Built around movement, rhythm and rolling dancefloor momentum, his remix takes the original somewhere different while preserving the unmistakable old-skool spirit at its core.

Five years in the making, ‘Lotus Rising’ is an alternative body of work presented by Subb-an, exploring his South Asian heritage, live instrumentation and a more introspective side of his production. Across a career rooted primarily in house and techno, the album finds him looking beyond the immediate demands of the dancefloor, opening up a more expansive and self-healing approach to his music.

The album brings together electronic production with live and organic elements, featuring contributions from London-based Indian classical sitar player Akash Parekar, vocalist and sound artist Kate Fleur Young, vocalist Anushree Datar, bassist Luke Weaver and Maribou State drummer Jonny Cade. The lotus represents growth and transformation, providing a fitting framework for a record shaped by a period of transition and reconnection. ‘Lotus Rising’ is released via Phonica Records Special Editions on 30th October 2026.

For the first release on Agingwell, we are proud to present a selection of artists who have

been working hard in the music scene for years. Some have spent decades behind the scenes, building soundsystem and shaping parties from the ground up, while others have made DJing and production a way of life.

Agingwell is about giving space to their own vision of electronic music, with no boundaries and no fixed rules.

A collection of sonic sigils, shaped to encode mood, atmosphere, and meaning.
Music as symbol, signal, and transmission. VOL I

TORRE return to Musiq Voyage with Phocaea Vol. 2, a new chapter in their ongoing Mediterranean journey. The Aix-en-Provence duo, Jean-Marc and Patrick Torre, deliver two original tracks, Sormiou and Les Sirènes du Frioul, inspired by Marseille, its coastline and the deep connection between the city and the sea. Blending disco, house, boogie and Balearic influences, TORRE once again shape a warm, hypnotic and distinctly Mediterranean sound.

The EP is completed by two remixes from leading figures of the Italian underground. *Gigi Testa, one of the most respected names in Naples’ deep house scene, brings his signature soulful, deep and groove-driven approach to the TORRE sound, while **Giovanni Damico* delivers a refined rework infused with funk, cosmic textures and dancefloor energy. Together, the four tracks offer different perspectives on the same Mediterranean landscape, moving seamlessly from sunlit afternoons to late-night club atmospheres.

With more than two decades of musical exploration behind them, TORRE have built a distinctive sound between disco, house and electronic music, earning support from artists such as Carl Craig and releasing underground favourites including Corps à Corps and Baleora. With Phocaea Vol. 2, Musiq Voyage and TORRE continue to explore their own Mediterranean mythology — from the turquoise waters of Sormiou to the mysterious shores of Frioul — with a release that feels equally at home on a Balearic beach, a Marseille terrace or a late-night dancefloor.

Vokabularium returns with leksikon vol. 2, the second instalment of the label’s evolving VA series - a carefully curated body of work that reflects the deeper philosophy behind the Copenhagen-based imprint: emotionally driven electronic music built for introspection as much as the dancefloor.

Following the success of the first leksikon compilation, this new chapter expands the label’s sonic identity further, bringing together a diverse collection of artists whose productions move fluidly between melodic techno, leftfield electronica, deep house and experimental club music. Across the compilation, there’s a consistent thread of tension, atmosphere and storytelling - records designed less around fleeting trends and more around lasting emotional resonance.

Founded by Denis Horvat, Vokabularium has steadily established itself as a platform for detailed, synth-led electronic music rooted in analogue textures and cinematic depth. The label has become an extension of Horvat’s own musical language - one shaped by releases on respected imprints including Innervisions, Afterlife and Diynamic, alongside his increasingly distinctive output on Vokabularium itself.

After inaugurating Saibai with the Samurai Music sub label's first release in 2025, Brendon Moeller returns with a new six-track excursion into the realm of splintered dubwise electronics. 侍栽培六 arrives alongside a partner release on Samurai Music, offering a subtle distinction of expressive, internal reflections that widen the landscape of Moeller's unique, prolific take on experimental soundsystem music. There are codes of classic dub that creep through the moody hinterland shaped out across these new works, and they inject warmth into the relatively forbidding atmospheres Moeller shapes out with eerie drones and chasmic reverb decays. The bassline on 'Disintegration Suite' has a steppas-like propulsion begging out for a mammoth rig loaded with heavyweight subs, while 'Fate's Rhythm' bristles with skeletal percussion rattling in the middle distance. 'Signal Path's synthetic murmurs of melodica and liberal spring reverb come straight from the Perry-Tubby school of sound sorcery. Of course, these ancient inflections are only part of the picture. Moeller's affinity for head-nodding half-time immersion and tense scene-setting define 'Dislocation' while his techno instincts guide the psychoactive arps modulating through 'Magnetic Sleep'. Every track has its own nuanced complexities, reference points and alchemical fusions bedded into a cohesive, brooding universe of sound that exponentially expands around his studio. Alongside the steely structures of Codebreaker, 侍栽培六 adeptly pushes at the observable edge as he leads us into unexplored space.

For two decades, The Oscillation has occupied its own space within the psychedelic underground, continually reshaping a sound built as much from texture, repetition and atmosphere as it is from conventional songcraft. On 'Interference', released October 30th 2026 via Fuzz Club, Demian Castellanos pushes that approach further than ever, creating what he describes as "a painting of sound rather than music”. It’s an album where noise and melody constantly collide, dissolve and reform into something strangely beautiful: “I wanted it to be accessible but also quite extreme, a sort of beautiful noise. I did my best to push out the parameters whilst trying not to allow it to disintegrate into something with no meaning or focus.” Chasing an elusive balance between accessibility and abstraction, the result is a record that feels simultaneously immediate and disorientating: dense layers of drones, feedback and motorik rhythms give way to unexpected moments of warmth, colour and even uplifting euphoria. Across its runtime, chaos never overwhelms; instead it becomes another instrument, carefully sculpted into hypnotic, immersive compositions. Much of the album emerged through instinct rather than intention. Fragments originally conceived as intros, outros or abandoned ideas gradually eclipsed the songs they belonged to, with tracks revealing themselves organically through a process Castellanos likens to "playing Chinese whispers with musical instruments." Elsewhere, two long-forgotten compositions – ‘Stasis’ and ‘When You Close Your Eyes’ – finally found their place after lying unfinished for almost twenty years. Recorded and mixed by Castellanos at his home studio in the Czech Republic, ‘Interference’ also benefits from a key collaboration with Lorena Quintanilla of Mexican band Lorelle Meets The Obsolete, who provides a transformative presence. Her haunting vocal on ‘La Alusion’ (which she also wrote the lyrics and melody for) became the breakthrough moment that crystallised the album, turning an instrumental sketch into a dreamlike centrepiece and helping shape the final sequence. She also lends her voice to ‘Isolation Freeway’, adding another layer of mystery to an album that continually blurs the line between structure and dissolution. Perhaps most remarkably, ‘Interference’ was created during a period in which Castellanos had largely stopped listening to music altogether: “My hi-fi broke a couple of years ago so I kind of wanted to see what would happen if I didn’t listen to too much music.” Instead of consciously absorbing outside influences, he trusted instinct, memory and experimentation to guide the process. The result is one of The Oscillation's most adventurous and emotionally resonant records to date: a vivid collision of hypnotic repetition, spectral beauty and controlled sonic disruption that confirms Castellanos remains one of modern psychedelia's most singular voices.

The third chapter of the Black Series is here, welcoming back SYXT founders MZR & Ketch alongside three artists who have helped shape both the legacy and evolution of the genre: the legendary Ø Phase, Uväll, and Hertz Collision. This collaborative release brings together a selection of refined, forward-driven sounds, united by a shared commitment to the core artistic values of the genre. Stripped of excess and grounded in intent, each contribution reflects a distinct perspective while remaining deeply connected to its foundations, pushing its language forward with precision and clarity.

EPILOGUE is the culmination of more than four decades of music-making by Japanese composer, producer and multi-instrumentalist Ken-ichiro Isoda, an album in which environmental sound, electronics, contemporary classical composition and memory converge into a deeply personal late-career statement. Isoda moved through video-game music, film composition, classical production, Okinawan music, television and collaborative projects, continually developing an approach in which acoustic instrumentation, field recordings and electronics could coexist naturally.



His collaborative album Interwoven with aus, released through WRWTFWW, further demonstrated the openness of a musical philosophy Isoda describes as being rooted in fluctuation, imperfection and organic movement.



EPILOGUE brings those threads together while refusing to function simply as a retrospective. The album consists largely of older compositions that Isoda has returned to, reconstructed and reinterpreted from the perspective of the present.



Opening track “TANEKOMA” refers to the Izu Robin, a rare bird native to Hachijō-jima, the volcanic island where Isoda lives. Its song, recorded by Isoda in the mountains, becomes part of the composition itself. Placed at the beginning of the album, “TANEKOMA” becomes both document and prayer.



Elsewhere, “Circulation 2” develops from a work created around the relationship between forest, sea and the movement of water. Flutist Dogen Kinowaki replaces Isoda’s original piano melody with a performance that gives the piece a distinctly Japanese sense of place. Kinowaki also appears on a newly reimagined version of “Beach of the Pliocene”, one of Isoda’s most recognised compositions.“STEPS”, first composed for film in 2008, looks back toward the electronica of that period. For this definitive version, Tsutomu Sonoda of maya ongaku provides vocals, bringing new emotional and lyrical depth to a piece Isoda had wanted to properly complete for more than a decade.



The title track from Isoda’s 1991 New Age album “Yume no Sazanami” is similarly reconsidered. Originally recorded with a small chamber orchestra, the new arrangement replaces elements of the harp and cello with layers of nylon-string guitar performed by Tatsuro Murakami. Perhaps the album’s clearest meeting point between past and present is “WATERWAYS.”The mysterious European ambient artist Aiko Takahashi, transforming an abandoned demo into what is simultaneously the oldest and newest work on the album.



“A Flowering Tree,” written for film in 2013, is reconstructed around multi-tracked flute performances by Dogen Kinowaki. Isoda carries that association into his own arrangement, allowing the piece to function as another quiet meditation on memory, loss and hope.



The album closes with “EPILOGUE” —less a grand conclusion than a moment of acceptance. Isoda chose it as the album’s title piece to hold what he describes as the complex emotions that accompany the twilight of a life spent making music. EPILOGUE is not simply a look back. It is the sound of older music continuing to move, change and breathe in the present: a lifetime of ideas distilled into Isoda’s own form of pure music, shaped by memory, collaboration, nature and the world immediately outside his home on Hachijō-jima.

Gi Gi describes his process as “dubwise sampledelia.” It begins with fragments and ends somewhere else entirely, destabilizing its source material until it stops pointing backward. A borrowed sound, looped and bent, eventually forgets where it came from; it stops referencing anything but itself.

This liquid sensibility shaped his earlier work, music that hovered between drift and propulsion, suggesting the dance floor without fully stepping onto it. Presence was implied, edges stayed soft. The center was always there, but diffused like mist on a screen.

With In Lieu, that center comes into focus. Half written in Texas, half in Australia, the shift isn’t simply geographic, but internal. The record moves with a coiled, anticipatory energy; the drums arrive with more force and the bass organizes the room instead of melting into it. It's dense with the feeling of more bodies in the frame. Textures still smear and refract, but they move around a clearer axis.

Where past records circled their core, these inhabit it, pulling closer to the body. “Some Of” and “Arque” lean into low-end pressure without abandoning his instinct for drift. "Pink Dirt" circles around mechanical drums and dizzying vocal chops, head-down and visceral. Elsewhere, voices gain newfound contour, materializing in “Downswept” with intimate musings and nearly forming a lead vocal on the title track before dissolving again.

In Lieu moves with a newfound confidence, compressing inward, sounding closer to the source of its own pulse.

Pariter continues its acclaimed archive series with another essential London tech house reissue from the Strange Weather Studios catalogue. Produced by two of the scene's key figures, Timmy S and Justin Bailey, this release captures a defining moment in the evolution of the UK sound.

Originally released on Wiggle in 2001, the EP arrived during the golden era of Nathan Coles and Terry Francis's legendary Fabric residency, when Strange Weather was helping shape the future of London's underground tech house. More than twenty years on, these tracks have lost none of their impact.

Meticulously remastered from the original DAT masters, the EP features three deep, tripped-out, acid-tinged tech house cuts, now presented on heavyweight 180g vinyl for the first time. Gold.

Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.

Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.

Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.

Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

“Sacred Aeolian music capturing and harnessing the divine power of the wind”

Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.

Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.

DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.

One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.

Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.

Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.

The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.

If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

After fifteen years of shaping dancefloors around the world, Mele is set to release his long-awaited debut album Alive On Arrival via Defected Records Far from an introduction, the album marks the arrival of an artist operating with complete creative clarity, bringing together the sounds, collaborators and influences that have defined his journey into one cohesive body of work.

"Alive On Arrival draws inspiration from what feels like my entire life as a producer, a DJ and a music fan, bringing together everything I love about house, hip- hop, UK music, soulful R&B and wider global sounds. The name comes from Wu-Tang Clan's C.R.E.A.M., which felt fitting to where I'm at in my musical journey. It's been 15 years as Mele, but I'm still alive and feel like I've got so much more to give. I've finally arrived at this point with my debut album. The album was made in, and heavily influenced by, London, Miami and Liverpool - three places that are close to my heart. Sonically, it's inspired by some of the best: Jungle, The Neptunes, Gorillaz and Masters At Work." - Mele aka Krissy Peers Set for release on 25 September, Alive On Arrival is Mele's most expansive project to date. Across fourteen tracks, he draws together house, hip-hop, soul and R&B into a record that reflects a lifetime spent moving between genres rather than being limited by them. Created between London, Miami and his hometown of Liverpool, the album captures the energy and musical history of three cities that have shaped both his sound and perspective. At the heart of Alive On Arrival is collaboration. Rather than simply assembling a list of featured artists, Mele has curated a cast of voices whose individual perspectives deepen the emotional and cultural narrative of the album. Long-time collaborators sit alongside new creative partnerships, each contributing to a record built on shared musical language and mutual respect.

180 GR welcomes Vick Lavender for his first release on the label, presenting the two-track The Endless Possibilities EP, shaped by his distinctive approach to deep-rooted house music. Endless Possibilities moves through warm, hypnotic territories, balancing flowing rhythms with a spacious, reflective feel. Out Of The Fire takes a more direct route, bringing deeper pressure and driving energy while keeping musicality and depth at the centre. Together, the two tracks offer a focused introduction to Vick Lavender's sound: soulful, rhythm-led, and built for both the dancefloor and longer listening sessions.