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MUSAR is proud to introduce Koloah, the newest voice in the family. Making his label debut with You Can Get Me EP, the Kyiv-born, Berlin-based artist arrives fully formed: three original tracks that move between restless grooves and expansive, immersive sound design, accompanied by a brain-melting remix from rising French star Binary Digit.

The EP opens with "You Can Get Me" - a UK-leaning groove anchored by a snaking acid line and fragmented vocal cuts that surface and dissolve, insistent and hypnotic, one of those tracks that lands fast and stays with you. "Get Me Close" follows, shifting the A-side into electro territory: harder edges, colder mechanics, but the atmosphere holds. Koloah keeps the tension tight and the space wide.
The B-side reaches further. The braindance producer Binary Digit takes "You Can Get Me" apart and rebuilds it in his own image - known for his deeply idiosyncratic approach to rhythm and texture, he turns the original into a real summer anthem, faster and focused, the same raw material carrying a completely different emotional weight
The EP closes with "Liminal Forest", a full IDM statement: intricate rhythmic programming, layered synthesis, and a sense of place that feels earned rather than constructed. Koloah signs off somewhere between the forest and the machine.
Recorded in Koloah's Berlin studio, the tracks were built in different periods - which is exactly why they breathe the way they do. Not a forced coherence, but a natural one.
"Atmosphere is the core of all my music and what I pay the most attention to."
- Koloah
This is the beginning of something. Welcome, Koloah.

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

The ENSOULED EDITS series begins by showcasing the work of Cee Alassad, a Moroccan producer famed for his previously digital-only reworks of historic cuts from his native country. It's these reworks Alassad offers up on his first vinyl outing for the freshly minted series. He begins with 'Tekere', a lightly house-style revision of a simply sublime workout - all bouncy, layered percussion, glistening guitars, righteous horns, heady vocals and chunky kick-drums. Over on side B, he tackles another cut from the same artist, joining the dots between 21st century Afro-house, synth-laden Afro-disco and far-sighted, tech-tinged grooves.

Layton Giordani brings out his first MADMINDS vinyl to celebrate his opening duo of releases on his imprint. Released on wax, 'When It Kicks' sees Layton's debut collaboration with dance legend Green Velvet - on the flip side, 'Call You Back' features Layton's standout link up with GENESI & Be No Rain.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.

Winding Road Records are proud to present the “Last Disco on Earth EP” from the ever-elusive group of “Mar De Novo” which is M & N, Paraiso and Yse Saint Laur’ant. First up on this EP is the title track ‘Last Disco on Earth’ is a monster slab of modern disco. Fat grooves, cheeky melodies and cool glitchy production. Uplifting, positive and energetic - guaranteed to put a smile on the dancefloor. Next up is ‘Over There’ is a twisted slice of bass-heavy undulating house, punctuated by crazy interludes and samples that fly in from nowhere. Starting things off on the B side is ‘Uncanny Valley’ is a sun-kissed downtempo groover, with dreamy strings and wonderful chilled musicality. Following on from that is ‘Reflection’ exudes space, peace, and calm. Guitars and piano intertwine alongside haunting vocals. Soundtrack bliss. Summer vibes. Finally rounding off the EP is ‘Find Love’ rounds off the package with a dreamy balearic sunset vibe.

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Daybreakers welcome back Chicago’s Vick Lavender for Essential Traxx Vol. 3, continuing a run of records that tap straight into the deeper end of his sound. A producer, musician and DJ with decades behind him, Vick has always moved in that space where house, jazz and soul naturally meet. It’s music with patience, feeling, and that unmistakable Chicago touch.

On the A side, Atmosphere brings things firmly onto the dancefloor. Rolling drums, deep bass and a groove that locks in and moves with purpose. Proper club-ready deep house that does exactly what it needs to do.

Flip it for There It Is featuring DMillz, and the journey goes deeper. Lush chords, soulful touches and that signature Vick Lavender flow unfolding over time. One for the heads who like to let the record tell a story.

Essential Traxx Vol. 3 keeps the story moving. Real house music from the source.

Deeper than deep house.

Buy or cry.

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

After a few quiet months, Griffé returns in 2026 with a powerful new release from Milès Borghese.

Previously featured on renowned labels such as 9finity (Secretsundaze), Squid Recordings (Liquid Earth), and Neptune Discs, Milès delivers a versatile EP that reflects his sound and dancefloor sensibility.

It’s Just EP moves between driven, high-energy cuts (Checkpoint) and deeper, more textured territories. Dubby atmospheres, cold chords, and hypnotic grooves shape the more introspective side of the record, leaning toward dub techno with a deep, minimal, and mental edge. A balanced and refined EP built for both peak-time impact and late-night immersion.

Take a ride with the newskool of electronic hard & XP livers !

A side brings tunes Fatigue Suspecte played live at various occasions. On the flip you will listen to 2 new tunes, fresh and speed !!!

Magic !

Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.

Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.

Bleaching Agent and Miles J Paralysis are two artists who operate steadily in their own lane. They collide on this release to deliver two contrasting originals, each handed to the other to be reimagined.

Both based alongside us in West Yorkshire, we are thrilled to present this shared vision in the form of the first Dream Space 12”.

Bleaching Agent’s Hollis captures the spirit of the bleeps & bass forged in the industrial north of years gone by, elevated with lush harmonies and slick vocal work. One that’s fit for late-night floors and hazy summer evenings alike.

Miles J Paralysis takes Hollis into a different space, chopping the melody into an infectious and hypnotic flow. All melded together with his signature dub-tinged, grooving percussive work.

On side two, Miles drags us into deep territory with Inhibited Orgy. Further exploring the otherworldly sound of his Paralysis moniker, that many of you will now be familiar with after a breakout year.

Bleaching Agent closes off the record with his own take, stoking the energy levels to create a stomping, anthemic chugger that is sure to ignite any dance floor.

Limited to 150 copies.

Ground16 proves his genre-bending talent with his latest release on A.2AUM, the new sublabel from SEVEB. The “Breaking Through” EP is like a Swiss Army Knife: Highly versatile, broken beats on the A-side and 4×4 on the flipside.

A DJ must-have, suitable for every occasion, whether opening slots, early-morning closings or the afters. Ranging from electro to deep house and broken beats, plus an uplifting techno remix by Turkish delight Pink Concrete, the record carries an overall dreamy, texture-rich sound aesthetic.

DJ support; Diplo, Oliver Heldens, Groove Armada, Nicole Moudaber, D.O.D, John Summit, Claptone, Roger Sanchez, Solardo, Martin Garrix & more.

Toolroom’s next vinyl single comes from 3 legends in the scene; Armand Van Helden, label boss, Mark Knight & D.Ramirez with recent hit, ‘You’. With another killer weapon from Van Helden and Knight on the b-side in the form of ‘The Music Began To Play’.

Nach zwei gefeierten Studioalben kündigt die britische Band BIG SPECIAL ihre neue EP mit folgenden Worten an: "Diese neue Platte besteht aus den verworfenen Teilen unserer ersten beiden Alben. Wir haben sie wieder hervorgeholt und mit ins Studio genommen, um sie zu überarbeiten und zu verfeinern. So entstand ein eigenständiges Werk, das unser bisheriges Schaffen reflektiert. Die Songs, die nicht zur richtigen Zeit an den richtigen Ort passten. Darunter auch Songs, die die Alben damals vielleicht zu lang gemacht und zu düster geraten lassen hätten, obwohl wir eigentlich die Balance einer emotionalen Reise bewahren wollten, als ob man einen Film mit geschlossenen Augen schaut. Also haben wir O'JOY! gemacht."