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Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.

LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.

LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.

Agora Records is proud to present the second edition of its Agora Wax vinyl series, bringing together five cutting-edge tracks from Sicion, Lacchesi, Schwefelgelb, AK1 and MRD.

Designed as an essential tool for DJs and selectors, this annual compilation showcases five forward-thinking productions exploring the darker, driving and uncompromising side of contemporary club music.

From hypnotic grooves and raw industrial textures to high-energy, dancefloor-focused rhythms, Agora Wax brings together a selection of tracks built for the club and made for discerning selectors.

Recorded at The Coronet London 29th August 2004 and now released on Recycled vinyl.

Line-up:
Peter – Vocals
Del Strangefish – Guitar
H – Bass
Caveman Dave – Drums

Previously released in 2005 on DVD

The Human League is renowned for their contribution to the synth-pop genre. Originating from the experimental electronic music scene, they achieved notable success as a pop band during the 1980s. The band's lineup has undergone changes throughout the years, but Philip Oakey, Joanne Catherall, and Susan Ann Sulley have remained core members.

This limited edition BLUE vinyl release captures their performance at The Dome in Brighton on December 19, 2003. It includes their iconic hits such as "Don't You Want Me," "Human," "Mirror Man," and "Fascination." The album showcases their talent for crafting catchy melodies, employing innovative synthesizer techniques, and featuring distinct vocals.

With their memorable songs and unique musical style, The Human League truly made their mark on the Synth-pop genre.

New dope release is coming on Macadam Mambo!

We are very glad to present this masterpiece of contemporary leftfield music by Pieter Kock and Nate Davis under their project ‘Sports Café’. If you liked the previous 2xLP of Pieter (The End ll), you will love this new one pairing with Nate. The 2 buddies deliver the perfect soundtrack for lazy afternoons and kinky listening session: put the record on the turntable, play ON, first pop, the feelings is good, you want to chill, you go in the fridge, you open a can of beer, sit on the sofa, start to roll your cigarette, the guitars (Vini Reilly style) are playing, the acid lines show up, nice melodies are coming, nice synths too, little vocals here and there that can remind some sort of PMU’s cafe rooms vibe (it’s from where the name of the project is coming from)… it’s cool, yeah baby, you enjoy, you feel good!!, the more you listen to it the more you love it… A proper shroomy excursion if you are into the trip. Trust us this album is a must have, big TIP ;)

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more

Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.

On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.

The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.

Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.

‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.

It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.

To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.

Sometimes things go quickly. After meeting Canadian artist Pascale Project early this year (twice in one month) on the same dancefloor of a crusty underground club in Neukolln, we sent this Berlin-based DJ and producer a short appreciation email to show curiosity and interest in her unreleased music. Our hope was to listen to it and maybe just maybe start a record-release project. Pascale sent back quickly, and she shared some fantastic club music with us. We had separate listens to the full playlist, and, funnily/coincidentally, we chose the same 4 tracks as highlights from the big playlist. One week later, Pascale emailed us back, mentioning the tracks she would feel/see/love to be released on the label, and they were the exact same ones we had naturally and unanimously chosen. Stars aligned for sure. Having long been active in the Montreal music scene, Pascale absorbed the essence of all her different experiences and years of training and creating, and then let it all start Sparkling into the 22nd Basic Moves release entitled "Watch EP". The record is based on the concept of losing and breaking things up, and eventually finding it all back. Reflecting hope in between the fog of life. It is clever modern underground club music rooted in the textures and energies of the golden days of progressive house, breakbeats and (real!) tech-house. These 4 tracks reflect an artist who expresses herself honestly, fully understands how to creatively arrange and produce club music, and never loses sight of the dancefloor, as she is often found on that dancefloor herself. Dive in and let us know what you think of it. We are stoked to play out and vibe on these tunes for real!

Please can someone please give me a better word for Sexy? Because the thesaurus is giving me ick...Send help because this is a SEXY record – and (football analogy incoming) – a sexy summer signing....

Yes, that’s right ODF’s summer transfer to the Shall Not Fade main label is complete. ‘The Rhythm Grooves’ makes a hat trick of 12”s for us after the UK OTW producer’s double sell out EPs ‘Deep Step’& ‘Rock With Me’ on our Time is Now imprint. The UKG and grooving breaks specialist has been developing his game and steps into House territory for something of a statement EP and we’re (hot and) here for it. Since launching his own On Da Floor label last year ODF has been on a tear and this record perfectly encapsulates why. Four double threat tracks that can be weaponised both as main stage WMDs or as deadly 3am tickets to another place....

This invisible dichotomy is most clearly on show in title track & A side opener ‘The Rhythm Grooves’ is equal parts hot under the collar and hands in the air. Deep and sexy house but with a stepping baseline and a big vocal. ‘Free Your Soul’ stays deep, a swung jacking house cut with big M1 stabs and piano riffs and cheeky breakbeat breakdowns. That palette is timeless and there’s every reason this track will be too.

The B-side leans more into sweaty room & heads down territory but just like before there’s that double threat and we’ve seen both these tracks go off in big rooms at peak time. ‘Back to Mine’ calls back to that sweet spot in the early 2000s with French Touch inspired tech house was dominating Ibiza...Sleazy and sunbaked? Check. But what we didn't realise was missing w as some Accieeeed. Big shout from ODF there.. ‘Do You Feel Me?’ closes out in celebratory style. A proper tech house tool complete
with chugging bassline and more sexy breathy vocals. It’s the after hours roller.

A serious note to close, because I don’t want the playfulness of this press release to make you overlook this (sexy) EP as it’s appeal is more than skin deep. Having sat with – and lusted over –these tracks for a while I can tell you that they just get better (and hotter) with every outing. The Rhythm Grooves is out 28th August 2026 on Shall Not Fade.

Jungle cemented their status as a major global force with their 2023 album ‘Volcano’ - a record that earned them their first BRIT Award and featured their worldwide smash hit single ‘Back On 74’. The trio - J Lloyd, Tom McFarland and Lydia Kitto - return with their eagerly anticipated new album ‘Sunshine’ set for release on August 14th. The album is launched alongside the new single ‘Carry On’, which was premiered as BBC Radio 1’s Hottest Record. Along with the single release and album announcement, Jungle have also confirmed details of their forthcoming global headline tour this autumn, which includes arena shows spanning three continents. 'Sunshine' will be available digitally and across a range of physical formats: standard black vinyl, 'desert peach' vinyl, translucent brown marble vinyl — all as single gatefold LPs — plus a digipak CD.

"Lost Weekend" ist das erste Album von Phoebe Bridgers seit dem mehrfach für den GRAMMY nominierten Vorgänger "Punisher" aus dem Jahr 2020. Bereits ihr gefeiertes Debüt "Stranger in the Alps", veröffentlicht kurz nach ihrem 23. Geburtstag, machte deutlich, welch außergewöhnliches Songwriting-Talent in Bridgers steckt. Mit "Punisher" löste sie dieses Versprechen eindrucksvoll ein: Das Album wurde für seine kluge, eindringliche und zugleich fesselnde Komposition weithin gefeiert und etablierte sie endgültig als eine der prägendsten Stimmen ihrer Generation. Wer nun "Lost Weekend" hört, wird jedoch feststellen, dass Bridgers noch einen Schritt weitergeht. Auf dem neuen Album präsentiert sie sich auf dem bisherigen Höhepunkt ihres künstlerischen Schaffens. Mit bemerkenswerter Präzision verfeinert sie die Motive, die ihre bisherigen Werke ausgezeichnet haben, und erweitert ihren Sound gleichzeitig um zahlreiche überraschende Facetten. Das Ergebnis ist ein Album, das vertraut wirkt und dennoch immer wieder neue Wege einschlägt. Vor ihren jüngsten Pop-up-Shows stand Bridgers zuletzt mit ihrer Supergroup boygenius auf der Bühne, die sie gemeinsam mit ihren engen Freundinnen Lucy Dacus und Julien Baker gegründet hat. Für das 2023 erschienene Album "the record" erhielt die Band mehrere GRAMMY Awards, darunter "Best Alternative Music Album" sowie "Best Rock Song" und "Best Rock Performance" für die Single "Not Strong Enough". Phoebe Bridgers verließ die Preisverleihung zudem als meistprämierte Künstlerin des Abends. Ihren vierten GRAMMY gewann sie in der Kategorie "Best Pop Duo/Group Performance" für "Ghost in the Machine", ihre Zusammenarbeit mit SZA auf deren Erfolgsalbum "SOS". Zuvor war Bridgers als Support-Act auf ausgewählten Terminen von Taylor Swifts "The Eras Tour" zu sehen. Davor absolvierte sie fast zwei Jahre lang ihre eigene "Reunion Tour" mit mehreren ausverkauften Nordamerika-Etappen, rund dreißig Konzerten in Europa sowie abschließenden Shows in Südamerika, Asien und Australien. Auch abseits der Bühne prägte Bridgers die vergangenen Jahre mit einigen der eindrucksvollsten Live-Performances im Netz und Fernsehen, darunter ihr viel beachtetes NPR Tiny Desk Concert sowie ihr Auftritt bei Saturday Night Live. Seit ihrem letzten Soloalbum veröffentlichte sie zudem zahlreiche Singles, Coverversionen und Kollaborationen mit Künstler wie Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift und The National.

DJ Support: MK, Mike Williams, Nicky Romero, Armin Van Buuren, Claptone, Tita Lay, MK, A-Trak, Danny Howard, Arielle Free, Nicky Romero, Fedde Le Grand, Crusy, DJ Dove, Idris Elba, Martin Garrix, DJ SKT, Freejak & more.

Toolroom Trax’s next Sampler showcases 4 big releases from Kryder, Dario Nunez, DGRACE, Smokin Jo, James Hurr, Camila Jun & Danny Rhys.

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

The second CBS/Sony album by internationally acclaimed Japanese keyboardist Himiko Kikuchi, "SEVILLA BREEZE," originally released in 1988, is finally available on vinyl for the first time.


Inspired by Georges Bizet's opera "Carmen" and traditional Spanish music, this masterful Latin jazz/fusion album showcases Kikuchi's dazzling keyboard work soaring freely over a powerful rhythm section and a razor-sharp horn section. Highlights include the breathtaking high-speed Cuban-Latin jazz workout "Toreador"; interpretations of "Gypsy Song (from Carmen)" and "Seguidilla (from Carmen)" from Bizet's "Carmen"; the Latin-funk fusion gems "Sevilla Breeze" and "Primavela," featuring Naoki Watanabe (bass), Tsuguo Okamoto (drums), and Yoshinori Nami (percussion); and the mellow, laid-back tracks "Blue Gibraltar" and "Siesta."


(This is a limited production edition.)

Armada Music and PDD proudly continue the brand-new A State Of Trance Classic Series, celebrating some of the most legendary and influential records in trance history. Following the success of Volume 1, Volume 2 once again dives into the archives to bring three essential trance classics back to life on fresh vinyl.

Kicking things off on Volume 2 is “Chicane feat. Moya Brennan - Saltwater”, a true trance classic that showcases the sound and energy that helped define the genre during its golden era. Originally released in 1999 on Xtravaganza Recordings, the track quickly became a favourite among DJs and trance fans, and now returns to wax as part of this essential new series.

On the flip is “Veracocha - Carte Blanche (Extended Mix)”, another highly regarded classic from the A State Of Trance catalogue. Originally released in 1999, the track has stood the test of time and remains a firm favourite with trance DJs and collectors, making its return to vinyl a welcome addition to the series.

Last but not least is “Insigma - Open Our Eyes (Original Mix)”, completing another carefully selected trio of timeless trance records. Originally released in 2000 on A Trance Communication Release, this classic perfectly captures the euphoric, driving sound that made the era so influential and continues to resonate with trance fans today.

Volume 2 continues the series in style, bringing together three essential trance classics on one piece of wax and making this a must-have for both long-time A State Of Trance fans and a new generation discovering these timeless anthems.

Sciahri and Sublunar are truly proud to present the next chapter in the label's journey: Hadone's debut album, Kept What Remained. Known as the co-founder of TSSRCT alongside UFO95, and following his contribution to Veil Of Echoes II, Hadone returns to Sublunar with a body of work that fully showcases the breadth of his artistic vision. Throughout the album, he reveals an impressive ability to merge emotional depth, powerful rhythms and sophisticated sound design into a deeply personal and unmistakable sonic identity, further establishing himself as one of the most compelling artists in today's techno landscape. The journey begins with the ambient title track, "Kept What Remained", an atmospheric introduction that sets the tone for everything that follows. It seamlessly transitions into "It Was Never Really Gone", a deeply emotional piece with a memorable arrangement that lingers long after it ends, before "Red Hour" raises the intensity through driving percussion and a tougher sonic approach. The B-side opens with "The Enemy Within", an explosive combination of intricate sound design and powerful rhythmic structures. It is followed by "Claim Your Due", a more submerged and atmospheric composition whose versatility makes it equally effective across different moments of a set. On the C-side, "Nobody Hears The Warning" gradually builds momentum through hypnotic energy and striking production, leading into "A Gentle Kind Of Madness", where beautifully crafted synth work and meticulous arrangements create one of the album's most distinctive moments. The final side begins with "A Dog That Learned To Speak", blending contrasting synth textures and detailed effects into a constantly evolving soundscape. The album concludes with "The Quiet Refusal", an epic and powerful closing statement that perfectly brings together the emotional intensity, coherence and artistic vision of the entire record. With Kept What Remained, Hadone demonstrates that innovation doesn't require sacrificing identity. Instead, he delivers an album that is bold, emotionally resonant and unmistakably his own, confirming his place among the leading voices of contemporary techno.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

Wewantsounds is proud to present the first official release of a legendary 1977 concert capturing Don Cherry, Collin Walcott, and Leon Thomas in their only documented performance together. Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the performance featured the three musicians playing an immersive hypnotic set, joined for part of the evening by the rest of Oregon. Long circulating among a few Don Cherry fans, the full concert is now available as a deluxe, remastered 2-LP gatefold set featuring Moki Cherry artwork and new liner notes by Jason Weiss—licensed by the Don Cherry Estate and producer James Quinlan.


Don Cherry’s huge influence has steadily grown over the years, as fans and new generations of listeners continue to uncover the vast breadth of his global musical vision. Sunrise captures Cherry during a particularly fertile late-1970s period, when the American jazz trumpeter blended global and Eastern spiritual concepts into his "Organic Music" philosophy, drawing deeply from Eastern and African traditions. Moving fluidly between trumpet, the West African doussn'gouni (a traditional hunter's harp from Mali), bamboo flutes, percussion, and vocals, Cherry creates a deeply resonant world music soundscape.
Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the show took place just a month after Don Cherry participated in the recording of Collin Walcott's ECM album Grazing Dreams. With Walcott playing alongside Cherry and vocalist Leon Thomas, bringing his unmistakable yodel-style vocal approach—and joined for part of the night by the rest of Oregon (Ralph Towner, Paul McCandless and Glen Moore)—the performance stands as a stunning, hypnotic forerunner to the formation of CODONA. The newly remastered audio is so vivid and intimate that it feels as though you are sitting directly in the room with the musicians.
The release also serves as a vibrant homage to Don and Moki Cherry’s creative partnership, featuring a reproduction of Moki’s striking 1975 Mandala tapestry on the front cover.
The concert was produced by James Quinlan, a central pillar of the U.S. Jazz and World Music scene who worked as a sound engineer for Carla Bley, booked Fela Kuti’s major U.S. tour in the 1980s, and went on to direct the Creative Music Studio and found Miami’s Rhythm Foundation. In the album's liner notes, Quinlan reflects in conversation with writer Jason Weiss on the surprise magic of that night:
"Don brought Leon Thomas with him... as a guest, unannounced. It was not part of the advertisement or contract... I don't know of any other time that they recorded or performed together. So, that was completely unique... The audience had no idea what was coming... It was a sound that was just mesmerizing, almost like a mantra."
Licensed by the Don Cherry Estate and James Quinlan, Sunrise is available as a deluxe 2-LP gatefold set featuring new liner notes by Jason Weiss—an essential document in the rich, ever-evolving Don Cherry musical journey.

Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.

DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip

Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.

"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.

Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.

"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.

When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.

Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.

Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.

As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.

This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.

For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.

DJ HS presents "Booty Shake EP" on Ghoststyle

A legendary figure of the Belgian electronic scene and one of the iconic DJs of the famous Lagoa, DJ HS returns to Ghoststyle with Booty Shake EP, a four-track release showcasing the sound that has made him a favourite among clubbers for decades.

Featuring Booty Shake, Spectrum, Shut Up and Acid Twist, the EP delivers four driving cuts packed with infectious grooves, pounding rhythms and unmistakable acid flavours. Staying true to DJ HS's signature style, each track is built for maximum dancefloor impact while preserving the raw spirit of authentic underground electronic music.

Whether you're looking for energetic peak-time weapons or timeless club grooves, Booty Shake EP is a solid addition to any DJ bag and vinyl collection.

Français

DJ HS présente "Booty Shake EP" sur Ghoststyle

Figure emblématique de la scène électronique belge et DJ incontournable du mythique Lagoa, DJ HS signe son retour sur Ghoststyle avec Booty Shake EP, un EP de quatre titres qui reflète parfaitement le son qui fait vibrer les clubs depuis des décennies.

Composé de Booty Shake, Spectrum, Shut Up et Acid Twist, cet EP rassemble quatre productions percutantes mêlant grooves entraînants, rythmiques puissantes et touches acid irrésistibles. Fidèle à l'univers musical de DJ HS, chaque morceau est pensé pour offrir un impact maximal sur le dancefloor tout en conservant l'esprit brut de la musique électronique underground.

Que ce soit pour les DJs à la recherche d'armes redoutables pour le peak time ou les amateurs de vinyles électroniques authentiques, Booty Shake EP trouvera naturellement sa place dans toute collection.

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

The journey continues.

For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.

5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.

Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.

These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.

From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.

The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.

This is the seventh chapter of the series, but the philosophy remains the same:

Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.

A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.

Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.

Introspection is a 1972 cult-favorite solo guitar album by Brazilian composer and guitarist Luiz Bonfà. Unlike his more famous bossa nova recordings, this album presents Bonfá in a deeply personal, almost meditative setting. Recorded primarily as a set of intimate solo guitar pieces, Introspection showcases Bonfà’s signature combination of classical technique, Brazilian rhythm and emotive melodic phrasing. Initially overlooked, Introspection later gained recognition as one of Bonfà’s most admired and distinctive works outside the mainstream bossa nova canon. This reissue is the first ever on vinyl after 1972.

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

Bogdan Ra kicked off his new label Love Affair with some banging house cuts that threw it back to early Chicago styles. This third outing flips the script and shows his range with four disco sounds that take their cues from the late 70s and 80s: all the hallmarks are there, from the classic synths and vocoders to dusty drum machines. 'Complimento' is a smooth title track, while 'Shout' is a French-tinged funk workout., 'Paramour' glides through cosmic disco textures, while 'Fire in Cairo' brings an unexpected vocal twist and acrobatic bassline full of movement. Charming stuff.

The intriguingly named Pigeon Steve joins Especial for an EP of trippy, psychedelic electronic dance music that goes far beyond its origin – a thirst for all forms of movement – a struggle filled with all possibility.

Since its inception, the label has sought to take inspiration from a wide range of music genres – new wave and new beat to disco-not-disco, post punk and proto-house – never looking for a trend. This belief system expressed is human; intimate and authentic, dissolving and uniting around shared truths and universal values.

Music as ecstasy, the flux of rhythm and sound, to find and be yourself; no guilt, no competition, no games. It is phenomenon – magick – that short circuits through human (emotional) response.

Relocated to South-East London, Glaswegian DJ and producer, Pigeon Steve aka Adam Low, showcases his talent. A dubby, trippy approach to DJing mirrored in his productions; the recent, well-received EPs on the esteemed Offen Music and Weirdos Inc lead here – an EP of sample heavy cuts, wrapped in echo-laden grooves, the beats dripping in psychedelic, new beat and steppers electronica.

Dialect locates us, through its cadences, inflections and intonations we journey through life. Language allows us to escape the lion in a cage. The moment we forget ourselves, we can reach joy and clarity. To live is to exist, the struggle against controls, fighting for an individual destiny.

In 1979, Neil Fraser (artistically known as Mad Professor) founded Ariwa Sounds, the longest-serving and one of the most influential independently owned Reggae studios and record labels in the UK. From humble beginnings set up in the front room of Neil's home in South London recording on 4-track and homemade equipment, Ariwa would go on to record and release over 300 albums including works from some of the most impactful and storied artists of their time in the genres of Reggae, Dub, and Lovers Rock

Whilst our previous release in collaboration with Ariwa captured the label's early sound, a shared performance with Neil in Osaka and regular visits to his South London studio inspired us to assemble this 15-track compilation, showcasing the label's output across 45 years. Our release emphasizes some of the label's greatest vocalists: Johnny Clarke, Sandra Cross, Kofi, U Roy, Sister Nancy, Queen Omega, Aisha, Garnett Cross, Abel Miller, Horace Andy and more — presenting the Motown and Stax influences in the Lovers Rock, but also provides a glimpse into the dubbier and more experimental side of the label, showcasing Ariwa's commitment to quality but also their personality, philosophy and their humour. Love songs, break-up songs, socially engaged songs, dub experimentations — this compilation is not a "best of" Ariwa but a diverse and honest celebration of the label through the lens of Melodies International.

The compilation will be out in July in vinyl 2xLP, CD, digital formats, mastered from the original tapes by Frank Merritt (the Carvery), pressed at Optimal, artwork created by Jason Evans with design and assembly contributions from Nevil Bernard and Will Sweeney, animated teaser by Nevil Bernard and Melozine designed by Mafalda Meireles.

Fred Everything is on an impressive streak right now, having just released a solo retrospective album on 20:20 Vision and the much-lauded ‘8 Days’ collaboration album with Atjazz.

On this first release for Winding Road Records, Fred teams up with a fellow Montreal musician Teuteu to deliver the lush deep house of ‘Arrêt Infini’.

There are four interpretations of the track, each showcasing Fred’s crisp dancefloor-focused production and Teuteu’s keyboard mastery. From the cinematic punch of Part 1, and the deep uplifting groove of Part 2, to the blissed-out ambience of the Reprise, and the out-there dubbiness of ‘Rhythm & Bass’. All filled with warm chords, soaring strings, and squidgy basslines, but coming from a different angle.

Another jewel in Fred Everything’s expansive discography, and another choice Winding Road Records release.

2026 Repress

Introducing Fuse Imprint - The New Record Label from Fuse Club, Brussels

Fuse Club, the beating heart of Brussels' techno scene, is thrilled to announce the launch of its new record label, Fuse Imprint. Known for its cutting-edge music and unforgettable nights, Fuse is extending its influence beyond the dancefloor and into the realm of music production. The label aims to be a platform for both emerging and established artists, showcasing the best in techno and electronic music.

The inaugural release is a dancefloor-focused EP by Altinbas, aptly titled "Reshape". As a resident DJ at Fuse Club, Altinbas has been instrumental in shaping the club's sonic landscape. His new EP encapsulates the essence of a Fuse night - intense, immersive, and irresistibly danceable.

Explore the vibrant sounds of Bearface DJ with the debut installment of "Remakes and Raw Cuts Vol 2", a fresh vinyl series released on Beartone Records. Veteran producer Raj Panasa, aka Bearface, boasts a multi-decade catalog of feel-good, eclectic music, renowned for his distinctive blend of house, disco, Latin, and Italo influences.

This EP showcases Bearface’s versatile production style through expertly crafted edits and remakes of some of his favourite tracks, perfectly capturing sunny, dancefloor-ready vibes. Whether you're a DJ seeking energetic edits or a collector looking for a soulful addition, this release delivers sunshine and positivity in every groove.

Limited Stock act fast!

Naarm/Melbourne-born, now Berlin-based, Willem shows us the house side of his work. Techno-leaning grooves lay the foundation of the record, while leaving room for textures that drift into the realm where dub techno meets house.

On the B side, we hear the debut release from Naarm/Melbourne-based justjoe. His dreamy, pad-heavy productions round out the release perfectly, riding a line of tech house-inspired drums whilst holding a mood that taps into those deep, inward states.

Art: Liam Richards
Mastering: Morgan Wright

2026 Repress

Swedish talent Dold drops nuanced techno cuts on 10" via SHDW's Mutual Rytm X.

Stockholm-based Patrik Eriksson, aka Dold, is a cultured producer known for crafting hypnotic loops with a minimalist, emotive touch-bridging underground dancefloors and introspective listening.

As a DJ, producer, and co-founder of Arsenik, Dold has championed raw, unembellished techno since 2015. His releases on Key and Fuse blend Detroit techno's legacy with IDM's intricacy and ambient's ethereal tones, creating a style that is both timeless and forward-thinking. Whether it's crafting tapestry's recorded via hardware in the studio or performing live, Dold continues to innovate, honouring techno's roots while exploring its future, and his talent is on full display across his label debut on Mutual Rytm X.

'Grainy' opens the EP and showcases Dold's ability to craft deep and loopy techno with a stripped-back, emotive
edge. It's deft but enthralling, with innovative synths rising and falling through the minimal drums. 'Surface' is another compelling deep cut with hurried drum funk and subtle synth pulses, adding a futuristic edge to the groove. The fantastic 'Blush' brings smears of warm synth and machine soul to a dynamic dub techno rhythm that bends the
past with the present. Digital bonus cuts 'Dub at Heart (Club Version)' and 'Dub at Heart (Sofa Version)' offer
contrasting perspectives of the same track, with the first aiming directly for peak-time sessions, while the latter closes the package on a laid-back tip.

Swiss techno icon Deetron shows his class with a new four-track EP on Mutual Rytm's sub-label, X.

Deetron is one of the most respected producers of his time. From sleek house to deep techno, he brings impeccable sound designs and melodic elegance to his work while remaining true to his authentic signature sound. He always delivers, whether landing via labels like Ilian Tape under his Soulmate guise or via the likes of Axis and Music Man, and that quality is on show once again as he brings the class on this new EP via the sub-label of SHDW's Mutual Rytm.

First up, 'Translate Rhythms' layers jazzy, de-tuned melodies into a quick and slick deep techno groove. It's a colourful and playful sound with a serious impact. 'Cause' is a more heads-down and moody sound with walls of drums and bass rolling beneath raw percussive loops and tight vocal stabs that ramp up the energy levels. The fantastic 'Move' brings grainy pads, inescapable bass weight and bulky drum loops to make for an immovable wedge of serious concrete techno funk. Last is the digital bonus cut 'Orbit', which heads off to the stars with a deepspace
vibe, swirling pads and minimal drums that tap out a rumbling groove.

10" series

Exos inaugurates the new sub-label on SHDW's Mutual Rytm with four 90s techno cuts, with offshoot imprint X building on the main imprint's DJ-friendly tools to delve deeper into a broader spectrum of electronic music.

Founded in 2022, SHDW's Mutual Rytm label has quickly become one of techno's most supported labels, with wide-reaching love and well-earned hype following a series of carefully curated VA offerings and solo EPs from a wealth of the scene's best. Continuing to push the pace, with more records capturing high-quality, fresh soundscapes, April brings a new project to the mix with the launch of a new sub-label X, with techno pioneer Exos drafted to deliver the first instalment.

Hailing from Iceland, the Planet X boss is a master of crafting perfect dancefloor weaponry. Over the last twenty years, his high-octane sounds have come via vital labels like Figure and X/OZ, never failing to make an impact with both DJs and dancers. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s sound, and he brings this signature sound to four fresh productions across his 'Infrared' EP, marking an impressive debut for both label and artist.

The title cut 'Infrared' opens up the package in style and showcases a track that looks set to be a go-to anthem for many in the months ahead. With searing synth lines and drilling bass, the blistering production delivers a thrilling, high-impact techno sound that will devastate the dancefloor. The well-designed 'Kaldur Klaki' ups the ante even more with tightly coiled loops of drums, rusty hi-hats and stuttering synth lines that canter along with a muscular feel. 'The Bad' is twitchy and paranoid, anxiety-riddled techno that is perfect for dark warehouses and freaky dancers before digital bonus 'DS4BR' lands with a more stripped-back aesthetic with dubby undercurrents and static electricity fizzing across the face of the cut.

Each of the releases on Mutual Rytm X will be available on limited edition, coloured 10" vinyl, hence the Roman numeral X, and Exos' 'Infrared' EP kicks off the series on 19th April ahead of a new wave of killer releases scheduled across 2024.

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.