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Solune real name Etienne Dauta hails from France, the son of a record store owner father and artist mother. He moved to Berlin 6 years ago and for the last 3 years
co-ran the Bass Cadet record store. Solune has just released one EP in his short career on the Bass Cadet imprint but is also is one half of the Arcarsenal duo who also released on the label.
The EP kicks off with the mighty 'The Vision', a majestic New York inspired atmospheric stomper combining both spiritual and techy vibes that you can imagine hearing
pumping out over the system at The Sound Factory or Shelter.
'Sacred Smoke' is a hazy, languid percussive workout that will
sound perfect early doors to build the tension.
B1 'Rhythm School' does what it says on the tin and is a warm, driving housey cut. We wouldn't make these comparisons lightly but this sounds like a long lost Ron and Chez track to these ears. Last up is the exotic and mystical 'Idiom Of Peace'.
'The Hierophant' EP is a stunning EP of different flavours and a
perfect addition to the Secretsundaze catalogue.

New one on A Colourful Storm from soon-to-be-known artist Tackle. Insane breaks and bass programming over humorous sample placement. But there's nothing funny about it's take-no-prisoners approach. One of the heaviest releases we've heard in a long time. Fans of A Colourful Storm will recognise Grondman from Moopie's mix on Dommune late last year. Vital Sales Points: - Fourth release on Australian label A Colourful Storm - First release since 'Benzedrine', which was number 20 of Resident Advisor's 2016 top tracks - Premiered on Dommune in Tokyo last October. - Richie Hawtin's favourite artist. (Probably).

Die vierköpfige Band aus Ithaca (New York) X Ambassadors besteht aus Sänger und Gitarrist Sam Harris, seinem blinden Bruder Casey Harris am Keyboard, Gitarrist Noah Feldshuh und Schlagzeuger Adam Levin. Ihren bereits veröffentlichten EPs - Love Songs Drug Songs' (2013) und - The Reason' (2014) folgt nun ihr Debütalbum - VHS'. - Mir war wichtig, dass sich das Album insgesamt wie ein Film anfühlt', sagt Sam Harris. Wie in einem Film, geht es in den Songs um Bewegung, um Geschwindigkeit, um den Wunsch, irgendein Beziehungschaos und die Enge des Kleinstadtdaseins hinter sich zu lassen. Die erste Single - Renegades', ist bereits auf Hitkurs! Am Radio belegt die Single nur wenige Wochen nach Radiostart bereits #26 der Airplaycharts. In den USA chartete sie an die Spitze der Alternative Airplay Charts und der Triple A Radio Charts, sowie auf #8 der US Top 40 Radio Charts.
Die Single hat sich schon jetzt weltweit über eine Million Mal verkauft und verzeichnet über 45 Millionen Streams. In Kanada, USA und Italien wurde - Renegades' bereits mit Doppel-Platin ausgezeichnet. Die Band tourte mit Bands wie Imagine Dragons, The Lumineers und Panic! At The Disco und eröffnet im Januar 2016 acht US-Shows für Muse! Das Album erscheint als CD und Vinyl.l

pale green vinyl, CD included + 4 Pages Poster Release: 19.01.2015 Features the CD.Original Lp artwork. Remastered from original tapes .Also includes a 4 pages 30 cm x30 cm poster-booklet with photos, biographic notes (in english) & reminder of all vinyl references available 'SUPERNATURE' (Cerrone III)

50 Cent... was soll man zu dieser Rap-Ikone noch sagen 30 Millionen verkaufte Alben, #1 Hip Hop Künstler in den 'Billboard Artists of the 2000's', Grammy-Gewinner, Schauspieler in Filmen mit Arnold Schwarzenegger, Sylvester Stallone und Bruce Willis (just to name a few...) und Geschäftsmann mit eigenen Klamottenmarken, Videospielen, Düften, Kopfhörern und Gesundheitsdrinks. Der Mann, weiß was er will und was er tut. Nachzuhören auch auf seinem neuen Album, für das er nach 12 Jahren bei Shady/Aftermath/Interscope zusammen mit seinem G-Unit Label zu Caroline International wechselt.

Key Fachwerk team member Sascha Rydell is back on his home label founded by Mike Dehnert with another EP of searing techno. 'Thought Disorder' is a cantering, bulky affair with clipped vocals trapped in the middle of meaty drum loops. It's a well-swung track that has plenty of height to it, while 'Haptic' appears to make sue of the same vocal phrases. This time it's subtler, buried deep in a minimal percussive line and dubby, swaying drums. With some cute finger clicks joining the fray, this one is perfect for early evening warm-ups where the opener is a peak time banger. Filling up the b-side is Moony's remix of 'Rings Of Smoke' - a track by Roberto that was released on Fachwerk's previous EP. This new remix is a jazzy bit of dubbed out house with whispered vocals, uneven but warm piano chords and rolling kick drums that all make for a seductive and propulsive listen

Lopasura again delves into picturesque soundscapes drenched in emotion and melancholy, illustrating a typically dystopian setting for its latest offering. The A-sides opening track by Mark Forshaw is lean and mechanical in its make-up with an off-kilter combination of thick, stuttering bass stabs and percussion; creating a rather menacing undertone.
As a stark contrast, 'In the Smoke' by The Acid Mercenaries is a nine-minute tracky, steam train of clean and crisp scuttling hi-hats and razor-sharp percussion that dance around the relentless 303 acid line and beautifully soft 808 kick to devastating effect. On the flip side, a thunderous bass drum and freakish electronics stalk the discordant and arpeggiated synth that opens 'Hierarchy of Heritage', evolving it into some kind of hellish themed marching tune for the underworld. Frey then rounds off the EP with a typically rugged yet deliciously intricate piece with Gdn, effortlessly maintaining an intelligent groove throughout.
'Connect Four' is a rather fitting title for this EP, given the undeniable chemistry between all the tracks in how a story is told and tension is created; as Frey has done with the two previous Lopasura releases. The introduction of three debut artists on this release has paid off however, nestling comfortably into the label's aesthetic without compromising on the quality.

'Many Things", released in 2008, and 'From Africa With Fury: Rise' in 2011, 'A Long Way To The Beginning' is the third album by Seun Anikulapo Kuti with Egypt 80, the 14 musicians big band he's been leading since the death of his father Fela Kuti in 1997. It's actually the third part of a triptych in which Fela's youngest son, direct descendant of the afrobeat music style created by his father at the end of the 60's, is back on the offensive regarding injustice in his country, Nigeria, where it still grows, with an intact anger and a music more powerful than ever. The ingredients that have contributed to the success of the first two albums are warring beats, triumphant brass sections and burning lyrics but 'A Long Way to The Beginning' is also distinguished by jazz pianist Robert Glasper's contribution as a producer. While opening the spectrum of the sound, Glasper has made the participation of guests from the conscious American rap scene such as M1 (Dead Prez) or Blitz The Ambassador, a Ghanaian in New York, possible. The voice of German-Nigerian singer Nneka can also be heard on the track 'Black Woman". Finally, the French vibraphonist David Neerman adds his personal touch on two tracks ("I.M.F.' and 'Black Woman"), enhancing his attention to details that, allied to its firepower, allows 'A Long Way To The Beginning' to be a sophisticated and strong album. The message of this record is political. Its mood is offensive. When asked about his commitment, Seun answers: 'Being African means being politically involved. From the moment he wakes up in the morning, an African has a political attitude as everything he'll be doing during the day will have something to do with survival.'

New label with Chicago Influence ! Killer release ! Limited !

A year or two back, original Nottingham deep house don Gavin Belton (famed for being part of Smokescreen and Drop Music-adjacent duo The Littlemen) returned to the UK after living in New Zealand. One thing led to another and soon he was back in the studio alongside former creative partner Steve Lee for the first time in 15 years. Featuring heady spoken word vocals from Hector Moralez, the result is 'House For Change', a lightly electrofunk-fired slab of classic East Midlands deep house. Raising funds for homeless charity Help The Framework, this surprise EP also includes 2004 classic 'Tell Me' (a free party deep house classic) and two fresh reworks: a TB-303-bass-driven revision of 'House For Change' by their old pals Inland Knights, and a squelchy, spacey take on 'Tell Me' by Lee under his solo alias, Positive Divide.

Void Control brings his first release, Ghost Notes EP.

A study in weight, space and erosion, this EP channels the stark presence of brutalist architecture into sound. Concrete forms become low-end pressure, reverb blooms like empty corridors, and repetition functions as both structure and decay. Each track is built from raw materials: processed field recordings, fractured found sounds and analogue textures, shaping immersive environments

2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

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Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

"Dieses Jahr feiert "Dirty Old Hip Hop" sein 20-jähriges Jubiläum, und wir feiern mit einer Neuauflage dieses absoluten Klassikers. Das ursprünglich 2006 erschienene und für die Worldwide Awards nominierte Album ist eine meisterhafte Sammlung von Tracks von Marc Mac (4hero). Mit den Musikern Somatik und Luke Parkhouse sowie den Rappern Voice und Capital A hat Marc Hip-Hop-Breaks & Beats neu interpretiert und in Grooves eingebettet, die den gesampleten Original-Tunes Tribut zollen. Dieser postmoderne Ansatz hat ein Album mit zeitloser Musik hervorgebracht, das Epochen überdauert und gleichermaßen frisch wie vertraut klingt. Und es funktioniert einfach." - Bob Hill. Remastertes 180g Doppelvinyl.

Coming straight from the Cozmo comes RudyLane with a debut EP The Return Of The Synth. Landing the ship on new imprint Drag Vader comes a four tracker from the heavenly isles. Leading the arrival we have ' The Goat' a low hung brooding affair which then builds into haunting territories twisting into funk infused techno awakenings. ' 2 yrs L8' slips us onto at first a desolate plaine, trying to find a signal, with stripped vocal stabs swung groove, smokey juno bass into a hook that the Dark Synth would be proud of. ' Thirsty Pool' on the flip is a more minimal workout weaved within hypno vocals driving us forward into hopeful waters. 'Protests Digital' closes out the party blending worlds of emotive melodies and gnarly walking basslines through arpeggiated mid riffs dusted with dub kissed filterness. Landing firmly on the ground RudyLane is off to a strong start.

Excited to hear what's next on this journey.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.