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Farid Boudinar alias F.E.X. and Olivier Romero are two solid producers and friends since the 2000’s. Along side the stylist Kanten and Dj Lowris, they decide tu put together forces and passion into one project, one love, the music that makes us live.

Andre Zimmer’s sold out “Saved My Life” EP gets 4 hot and heavy remixes for the dancefloor, showcasing progressive, euro house sounds that are bringing back the true essence of the 90’s.

Chris Liebing and Charlotte de Witte announce their second-ever collaborative release, 'Symphonie des Seins' (Symphony of Existence). The release, taking in an original alongside a Dub mix from Liebing, follows 2019's 'Liquid Slow' from the pair and marks the second release ahead of Chris Liebing's 'Evolver EP' releasing in late-March.

A surging acid-beast channelling mid-90s techno energy, 'Symphonie des Seins' sees de Witte delivering a tweaky, spoken
vocal comprising the hallucinogen-fuelled diaries of ayahuasca and DMT trip reports that Liebing stumbled upon online. Crisp
but heady, old school but utterly contemporary with its delivery, 'Symphonie des Seins' sees two techno artists with very
di?erent formative eras converge perfectly with a razor-sharp piece of dancefloor mayhem.

Following January's 'Roy Batty' EP, Chris Liebing and Charlotte de Witte's 'Symphonie des Seins' is the last single before Liebing's thirteen-track 'Evolver' LP lands on March 27th. The 'Evolver LP' features additional collaborations with Luke Slater, Speedy J, The Advent, The Alte Stuben Modular Ensemble aka Daniel Miller, Terence Fixmer, and Pascal Gabriel and is Liebing's first solo Techno LP, having focused on long-form electronica output alongside co-writer Ralf Hildenbeutel for 2018's 'Burn Slow' and 2023's 'Another Day' for Mute Records, and the André Walter co-produced 'Evolution' in 2002.

From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. The influence of Tangerine Dream can clearly be heard on "Romance 76", although the arrangements are comparatively minimalist-a state of affairs for which David Bowie can be held partially responsible.

M.C.’s/How Many Miles? is the follow-up solo single and arrival proper of MC D. With DJ Fusion once again handling production and scratch duties, this extended player is no less uncompromising than its predecessor. Benefitting a full release with the now iconic Mendoza green labels, it cemented the young MC in the annals of UK rap history. MC D (aka Darren James) cut one more record for Mendoza as part of his Silent Eclipse project before moving on to future collaborations with the likes of The Principle (Caveman), Deckwrecka, Rodney P and Skinnyman. M.C.’s/How Many Miles? is ranked amongst Mark McDonald’s Top 100 UK rap records in the essential Megablast book published in 2024.

Way Dynamic, das Soloprojekt von Dylan Young aus Melbourne, veröffentlicht international ,Massive Shoe" - sein drittes Album, das verspielt und zurückhaltend, strahlend und facettenreich ist. ,Massive Shoe" ist minimalistischer Folk-Pop, Art-Rock und Barock-Pop, produziert und größtenteils eingespielt von Young, der nebenbei bei Melbournes beliebten Bands Cool Sounds und Good Morning spielt und als Schlagzeuger bei Snowy Band und Kankawa Nagarra mitgewirkt hat. Es ist verlockend, diese Songs nur mit denen vergangener Zeiten zu vergleichen - Youngs Falsett, sein Gespür für Harmonien und die komplexen Arrangements wirken alle zeitlos. Aber es gibt eine Sensibilität, eine Wortwahl, die sich zutiefst zeitgemäß anfühlt: Es ist bezeichnend, dass Katie Crutchfield von Waxahatchee ,Miffed It" als ihren ,Lieblingssong seit SEHR langer Zeit" bezeichnete, und Katie, MJ Lenderman, This is Lorelei und Black Country New Road haben alle Way Dynamic auf Tour mitgenommen, während Sir Elton John sagte, er könne einfach nicht aufhören, ,Ibiza" zu hören. Youngs Songs scheuen weder Sentimentalität noch Albernheit: In jedem beliebigen Song könnte er einen Flug ins All vorschlagen oder ernsthaft eine Missverständigung beklagen. "Can we walk and talk as well?", fragt er in ,I Was the Dancer", und wir nehmen die Einladung sofort an.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

Franky Wah returns to Crosstown Rebels and reunites with Kuuda on ‘Light Years’.
Dropping on 13th February 2026, the two-tracker sees the acclaimed UK producer continue his collaborative journey alongside the impressive Brighton-based collective for both his and their second appearance on Damian Lazarus’ revered imprint.

Having made a splash with his impactful label debut last summer, Franky Wah returns to Damian Lazarus’ Crosstown Rebels imprint with ‘Light Years’, a two-track EP that explores emotion and movement with measured confidence. The release sees the Yorkshire-born producer further embed himself within the Crosstown universe, delivering a project built on patience, progression, and feeling, where every moment earns its weight.

The EP opens with the title track, a wide-screen, hypnotic solo burner that balances uplifting melodic energy with weighty, driving grooves. Built for long moments on the floor, the track unfolds, allowing atmosphere and tension to do the heavy lifting while maintaining a clear sense of momentum throughout. On the flip, Franky reunites with longtime collaborators, producer-songwriter-vocalist trio Kuuda, for their second outing alongside him on Crosstown Rebels with ‘House In My Veins’. Continuing a partnership rooted in shared musical language and emotional depth, the Brighton-based trio is central to the track, bringing drive, earworm vocals, and a distinctive identity, woven seamlessly throughout Franky’s cinematic production - grounding expansive moments with human connection.

Following heavy support from Pete Tong on his Crosstown Rebels debut, and a recent invitation to host Tong’s flagship BBC R1 show at the start of 2026, Franky continues to assert himself as an artist equally at home in club culture’s most intimate spaces and its widest-reaching platforms. Meanwhile, Kuuda continue their impressive start to 2026, hot on the heels of their recent collaboration with Hot Since 82 on Bedrock. This latest partnership delivers a focused yet expressive statement, music designed to breathe, to move, and to resonate long after the lights come up.

A decade ago, Taylor Swift was already a world-renowned and dominant force in the pop world. In 2014, she was on a world tour that took in a stop at Tokyo Saitama Arena on June 1st and the recording of it captures the electrifying energy of her sold-out performance during the iconic "Red" world tour. This live album showcases Swift at her early peak and delivering heartfelt ballads and powerful pop anthems with her signature charm and stage presence. Fan favourites resonate with emotion and live energy, while quieter moments like 'All Too Well' highlight her storytelling prowess. The Saitama Arena crowd adds to the magic throughout.

After a quiet year in the shadows, Mithra rises once more, offering four tributes to the sun. Opening the ritual, Titino’s “Sole Nero” radiates with dark-wave tension and Italo-synth euphoria, a storm of emotion forged for the twilight hours. Riccardo’s “Neosun” follows as a luminous, left-field Euro-pop surge to an ecstatic sunrise in motion. On the flip, Sweater’s “Talk to Me” drifts into warm organic grooves, a perfect hymn for open-air dusk and introspective transitions. Finally, Ewan Jansen’s “Kuseni Yayo” closes the circle with lush pads and earthy resonance, echoing the spirit of dawn breaking through the forest. Together, these four offerings form the first light of our next journey, an initiation toward the mountain peaks that lie ahead.

Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.

«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»

Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.

Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.

DJ Tennis expands the universe of his recent single ‘Playa Paradiso’ featuring vocals by multifaceted British artist Eliza with a deep-diving Club Mix, retooling “Playa Paradiso” into a darker, longer-burning version aimed squarely at the dance floor.
Stripping back the sun-kissed gloss of the original, the Club Mix leans into his precision production instincts; elongating the groove, tightening the rhythm, and letting the low-end shine. With the vocal weaving in and out like a guiding light through the haze, it’s a hypnotic take that trades coastal charm for heady club
elevation. A masterclass in tension and release, the Club Mix underscores DJ Tennis’s ability to balance emotional depth with dance floor functionality. The remix is a reframing of “Playa Paradiso” for the night shift: smoke-filled rooms, peak-time crescendos, and sunrise afterglows. Both versions capture different corners of the
same world, one that basks in the Balearic sun, and the other pulsing in the strobe.
Together, they mark a full-circle return for DJ Tennis’s first solo material in three years as an artist whose sonic world has always defied simple categorization.

HARRY ROMERO alias TRON REVOLTA drops his next collection of expertly crafted reworks. 4 cuts from the likes of SHARON JONES, MICHAEL WATFORD and BANG THE PARTY. VOLUME 1 sold out quick. Don't sleep on this.

Nur wenige Alben haben eine Ära und eine Generation von Popmusik so sehr geprägt wie "Faith", George Michaels bahnbrechendes Solo-Debütalbum von 1987. Fast vollständig von George selbst geschrieben, arrangiert, produziert und interpretiert, enthält "Faith" die Hitsingles "Faith", "Father Figure", "One More Try" und "Monkey". Diese limitierte Doppel-LP mit 10 Titeln in Marmoroptik ist nun erstmals seit über einem Jahrzehnt wieder auf Vinyl erhältlich und enthält unter anderem "I Want Your Sex - Pts. 1, 2 & 3, The Monogamy Mix".Tracklist:Side A1. Faith2. Father Figure3. I Want Your SexSide B1. One More Try2. Hard Day3. Hand to Mouth4. Look at Your HandsSide C1. Monkey2. Kissing a FoolSide D1. I Want Your Sex (Monogamy Mix)

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This is the second of a two-volume release which presents a selection of the best songs from Guinea's Syliphone recording label. This volume focuses on recordings from the 1970s, when Guinea’s authenticité policy had transformed the nation's music through a network of over 30 orchestras, each representing their local region, and each presenting Guinean musical traditions alongside the influences of Cuban music, jazz and funk.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the 60's & 70's, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound.

The fierce Brass of 'Whack, Slap & Blow' and 'Kaye Okay' could both be a Keith Mansfield cut, acting as a theme tune to a glamorous saturday night tv show circa 1972. 'Duck Strut' is a cheeky slice of Bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. 'The Needle Nose', 'Midnight Heist' and 'Wiretap' are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. 'Wigged out' channels the wonky organ weirdness of Italian library legends I Marc 4 while 'Nuclear Wind I & II' use Moog and Mellotron as electronic counterpoint to ethereal voices. 'Siren's sea's' acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer 'Planet Nine' traverses the cosmos.

* Solid digital roots reggae classic from Rick Wayne, originally released on the Pathway To Freedom label in 1997, backed with a minimalist dub version with emphasis on the juggernaut rhythm,

* `Almighty Father’ has gained popularity in recent times due to its inclusion on shared recordings of late-1990 Jah Shaka sessions that have been circulated.