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The earliest foundations of the Detroit Harmony group ‘The Gaslight’ came when future lead singer Oliver “Butch” Cheatham via an introduction by his sister Jackie joined a group known as ‘The Young Sirs’ who recorded, “There’s Something The Matter (With Your Heart/African Love” for Magic City during 1969. The group included Oliver’s future brother -in-law Allen Cocker (Jackie’s future husband).

Oliver and Allen went on to form a new vocal quartet with Curtis “Kippy” Anderson and Michael Eatmon. Under the group name of ‘The Gaslight’ they signed to Uptight Productions Incorporated, a local production company founded by local businessmen Marvin Figgins and Arnold Wright. The Gaslight were the only vocal harmony group signed to Uptight Productions and as such, it was they who made the most recordings across two label imprints Grand Junction and Black Rock. The Gaslight’s first single “I Can’t Tell A Lie/Here’s Missing You” was released on Grand Junction (GJ1001) in 1970, For the groups second single Figgin’s placed them under the guidance of legendary producer/songwriter, the late George McGregor under whom they recording “Drifting Away/If You See Her” Grand Junction (GJ1002) released in 1971 For their next release Figgin’s switched the group to his Black Rock label to record “Out Of My Hand/I’m Only A Man” Black Rock (2002) under the pseudonym of Butch & The Newport’s With “Butch” being Oliver’s nickname. A later, second release of “I’m Only A Man” but with a different flip side “I’m Gonna Get You” came out on Grand Junction (GJ1100) in 1973 with the performing artist credits reverting back to ‘The Gaslight’.

Upon leaving Uptight Production’s the group found a new home when George McCregor took them to a new fledgling label T.E.A.I (an abbreviation for “Tellin’ Everybody About It”) owned by ‘The Dramatics’ Road Manager Charles Underwood. ‘The Gaslight’s’ first and only release for T.E.A.I, was the mellifluous 1975 double sider “Just Because Of You/It’s Just Like Magic”. Underwood had precured a working relationship with Polydor Records who picked the release up for national distribution three months later. As good as the record was due to poor promotion it failed to make any notable noise and eventually sank with the group soon after breaking up.

During Soul Junction’s later dealings with the late Oliver Cheatham, respected UK Collector Andy Rix mentioned he owned a three track acetate containing the two mentioned T.E.A.I/Polydor tracks plus a third unissued dance track “Hard Times” which through a licensing deal with Charles Underwood Soul Junction now present to you on a three track 45, released under its full title “Hard Times Are Coming, Hard Times Are Here” backed with a previously unissued mix of “Just Because Of You” alongside the issued 45 version of “It’s Just Like Magic”.

VA – Parallel Sequences continues MixCult Records’ tradition of curating forward-thinking soundscapes for refined dancefloors. This four-track compilation brings together the finely tuned craftsmanship of Kirill Matveev, Genning, Overt, and Dawn Gab — producers with surgical precision and a deep understanding of space, groove, and sonic narrative. Together, they present a multi-faceted EP rooted in dub techno and tech house, designed with intention and built to navigate a wide emotional range throughout the night.

A1. Kirill Matveev – Never Losing That Track (Overt Remix) is a masterclass in momentum. It rises patiently yet confidently — perfect for steering the atmosphere toward something uplifting, with each element unfolding with deliberate purpose.

A2. Genning – Parallel shifts the energy into shadowy territory. Deep, dubby, and melancholic, it acts as a reset moment — cooling the air while preserving depth, tension, and forward motion.

On the flip, B1. Dawn Gab – Call Of The Wind moves between melodic phrases and swinging percussive patterns, offering a graceful push-and-pull that feels fluid, textured, and inviting.

Finally, B2. Genning & Kirill Matveev – Blueberry brings the release to its emotional peak with bright, expressive energy. Melodic and high-spirited, it is engineered precisely for a euphoric moment on the floor.

This EP is a toolkit for thoughtful selectors — designed to glide through introspection, propulsion, and release with clarity and finesse. Whether opening a night, shaping the arc, or closing with warmth, Parallel Sequences delivers depth, agility, and emotional charge in perfect balance.

April 1, 1996, saw Tina Turner release her ninth studio album, Wildest Dreams. It peaked at #26 in the Billboard R&B Chart, #4 in the UK Album Chart, and secured numerous Top 5 placements across European charts, earning double platinum status in the UK and Europe. The album featured the hit song "Goldeneye", the James Bond theme tune which saw the franchise relaunch with Pierce Brosnan in the starring role, the song was penned by U2’s Bono and The Edge. Five further singles were also released, including collabs with Sting and Barry White.

The set will be rounded out with Live In Amsterdam / Wildest Dreams Tour, originally released on Eagle Rock DVD, with newly remastered audio and on Blu-ray for the first time, and with a new booklet featuring new liner notes by UK music writer and former Record Collector editor, Jason Draper.

The 2LP 140g vinyl will feature the remastered album, now spread across two vinyl for superior sound.

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

Claudio Mate announces the launch of his new solo imprint, Claudio Mate Records.

As the name suggests, the label serves as a personal platform where Claudio explores his past, present and future works, shaping his sound into a more spiritual and meditative direction.

The imprint will also feature collaborations with friends, artists and creative connections established over the years across the globe, while carrying his typical forward-thinking approach and a distinctive imprint sound trademark.

Over the past two decades, Claudio Mate’s music has received recognition and support within the electronic music scene, from main stage artists while remaining rooted in more underground circles.

Claudio Mate Records marks a new chapter in his artistic journey — a dedicated space where sound becomes introspective, evolving and deeply connected to emotion.

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天 (Ten) CMR - 001
The Japanese kanji 天 (Ten) means “heaven”, “sky”, and the natural order of the universe — something vast, unseen, and beyond human control.

For the Japanese, 天 is more than a symbol: it embodies the connection between humans and the cosmos, the divine order that guides life, and the higher realms where sacred forces reside. In Japanese Buddhism, it refers to celestial realms and higher states of existence; in Shinto, it evokes the sacred heavens of the kami. But TEN is not about reaching heaven.

It's a deep, dub techno journey through shadow and space — obscure, hypnotic, and timeless. Sound that drifts between worlds, suspended in something greater than the sky itself.

The EP also features Atarashii Hi (“a new day”), a classic deep Detroit techno cut in true Claudio Mate style.

The Bait label is back with more stylish deep dubstep swagger, this time from various artists who know how to crank up the low end pressure. Eva Loveless opens up with 'Juniper red' which harks back to classic Techtonic sounds where techno and bass come together for front foot forward momentum. Slimy Ape's 'Guro' is a hefty stepper with dubby undertones and plenty of open space for the tape hiss to hiss and the conscious vocals to drift in. Furtive's 'Stormlight' is ice cold and minimal, with skeletal rhythms punctuated with clacking hits and doused in bass. Last of all, Buckley's 'Introspective' is a twitchy broken beat with classic dub techno chords and yelped vocals injecting some fragmented soul.

James ‘ReKab’ Baker is a highly regarded British producer who made some of the finest tech-soul, electro & ‘Artificial Intelligence’ style electronic music of recent years. James sadly passed away August 2025 and has been a great loss to the community, his productions on labels such as Distant Worlds, Fourier Transmission, Yore, We’re Going Deep, Moatun 7, Magnonic Signals and Analog Concept were much loved by fans of this music worldwide and all sold out upon release.

Previously, his first 4 albums had only ever been available digitally, initially issued on the Icelandic label Moatun7 and are currently only available on Bandcamp. Now, for the first time, in association with UK electronic label System One, all 4 albums will be issued on vinyl as full length albums, fully remastered by Justin Drake & the digital versions will be once available again on all DSPs worldwide.

The first reissue in the series is ‘Analogue Isolation’, to be released March 27th. Written & recorded in 2020 through the Covid lockdown period, the album is a masterclass in pure home listening electronica. Blissful, emotive and melodic with crisp drums, gently pulsing basslines, lush pads and exquisite melodies, Analogue Isolation heralded the arrival of a truly talented producer who enchanted fans of the genre over the coming years

Analogue Isolation will be a limited initial run of 250 copies through all stores worldwide March 27. A pre-release stream is available on Soundcloud here. The subsequent albums will be released throughout the remainder of 2026 & will be accompanied in December by a strictly limited hardcase for collectors to house all 4 albums. Meanwhile, all 4 albums will be available on DSPs worldwide from March 27.

First released back in 1998, Random Factor's Too Fast Into The Future returns to wax and serves as a reminder of just how far UK mainstay Carl Finlow was already thinking ahead. The album was also a standout moment in the Leeds-based 20/20 Vision label catalogue that threads house, techno and electro into something more unsettled and brilliant. 'Lead Me Blind' and the title track fold processed vocals into stark machine rhythms, while 'First Principles' and 'When Daylight Fades' remain DJ touchstones. There is tension in every bar and introspection rubbing against dancefloor drive. Decades on, it still bangs.

2026 Repress

Two formidable producers deliver an absolute weapon of a release, each taking charge of one side of the vinyl.

Already on his second release with the Time Passages family, Tal Fussman needs no introduction.
For Skatman, this marks his first appearance on the label, though he has been on the radar of the label boss for quite some time.
His music is hypnotic, subtle, and deeply rooted in the dance floor — perfectly aligned with the timeless aesthetic of Time Passages X.

As sublabel of Time Passages, TPX continues its strictly limited approach: only 300 copies, untitled, and with no digital release.
Two tracks that speak louder than words.

You wait positively yonks for a new Amit record and what do you know, two turn up pretty much at once. Not that we're complaining, especially as this is quite a different beast to its dubby downbeat predecessor on the Slough producer's Amar label. A double sided collaboration with Bedford's Outrage, 'Trigger' showing the pair taking the most well worn of ingredients - crackling Amen breaks and disorientating synths - and turn them on their head, reshaping them into something you've never heard before. On the flip, 'Zulu' is another hardstepping big hitter with precision beats, plenty of drama, truly disgusting bass pressure and beats that evoke ancient memories of Digital at his most individual. There's drum & bass and then there's 'proper' drum & bass, and it doesn't get much more proper than this.

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

Return of the Blastromen! OEra marks the comeback of the Finnish Electro duo, 7 long years after their last album Cyberia. The new EP on German label Dominance Electricity features 4 powerful, polished productions, with melodic synths and Vocoder vocals somewhere between Kraftwerk, Anthony Rother, TRON soundtrack, a pinch of Psytrance and Jackal & Hyde / Dynamix II / Code Rising style Electrobass.

Chinaski opens 2026 with SOULMEEX record label exactly where he thrives best: suspended between nostalgia and futurism, melody and motion. Known for his synth-forward language and cinematic instincts, the Berlin-based producer delivers a release that feels both playful and sharply intentional, channeling emotion without sacrificing precision.

Across the EP, Chinaski revisits the spirit of Italo through a contemporary lens, shaping glistening arpeggios, buoyant basslines, elastic grooves and joyful synth stabs into five tracks that move effortlessly between the dancefloor and the imagination. There’s an unmistakable sense of lightness here-music that doesn’t overthink itself, yet is clearly crafted by someone who understands form, tension and release.

Rather than leaning on retro tropes, Chinaski treats dance music as a living, breathing language. The melodies feel familiar but never predictable; the rhythms pulse with warmth and confidence. An unforced sense of freedom runs through the release, inviting repeated listens and late-night moments alike.

With this EP, SOULMEEX sets the tone for 2026 with clarity and purpose, and Chinaski delivers the spell-subtle, melodic, and quietly irresistible.


Neel and Donato Dozzy welcome Zara to their Spazio Disponibile playground. Over the course of four tracks she brings an excellent showcase of her fluid, bass heavy and hypnotic techno experiments. From the deep stepping 4th Arc to the teeth grinding live version of Plastique. On the B-side she brings the groove back in with some lively off-rhythm techno hypnotica. It's a suiting addition to Spazio's label roster that pushes techno once more outside of the ordinary.

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Rhythm N Vibe deals in exactly that across the house and garage spectrum. Marc Cotterell is a mainstay and gets the EP underway with 'I Want You,' a chunky and dirty garage swinger with tumbling bass and steamy vocal coos. Home Team & Greyhound then bring some old school piano magic to their 'Worth The Wait' and UrMUMSBSMT goes deeper with some liquid pads and burning diva vocals on 'Don't Ya.' International Swing Committee shuts down with 'Though Da Storm', which brings some silkier grooves and more light-footed rhythms with another masterfully plunging bass. Pure body music brilliance.

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.