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Meet Matas Petrikas, a music producer, DJ, and book author with a passion for electronic music. Born in Lithuania during the time when it was still a part of the Soviet Union, Matas began experimenting with electronic sounds during his teenage years using self-built instruments and recording equipment. In 1991, Matas took a trip to Berlin that would change his life forever. There, he encountered the early years of techno culture, which led him to co-found EXEM, one of the first house and techno bands in the former Soviet space. With EXEM, Matas was one of the pioneers of electronic dance music in Lithuania, and by the end of the decade, they had charted numerous hits. They performed live shows ranging from intimate clubs to massive arenas, sewing the seeds of the local electronic music scene. Since then he relocated to Berlin and has forged a musical solo career focused on live-sets, experimentation, and authoring the book 'The Joy of Electronic Music'. The Unknown is Matas’ first release on his newly formed imprint Dangė Records, focused on supporting electronic music from Lithuania and the Baltics. The 6 track EP forges his love for texture heavy hypnotic techno with industrial and warehouse leaning low end and percussion. Although mainly an EP rooted in driving a groove, the use of earworm worthy basslines, rave breaky drums, and squelchy lead synths is where Matas’ long career foray into many genres of electronic music shines through. Dangė Records releases electronic music from Lithuania and the Baltics—sounds that emerge from underwater, carried by artists who inherited the weight of transformation.

Berlin-based edit specialist Voodoocuts knows exactly how to tease out the best bits of any of the source tunes he works with. He's been doing it for years now on labels like Juice on Wax and Uluru, and now heads to Ritmo for his latest 7" bomb. 'Riddim Freak' gets this one going with a reggaeton rework of a Missy Elliott classic. It's an inspired pairing that has elastic bass and trampoline-like kicks with rave horns, fat-assed brass band energy and plenty of that original Missy attitude. 'Work This' takes another of the rap queens' most welcome jams and flips and reverses it into an early electro and hip-hop blend with old school drums and many magnificent samples all bringing it to life in full colour.

Bristol's Pessimist returns to UVB-76 Music with four tracks, zero filler and no wasted space. He is one of drum & bass's most distinctive voices and shows why once more here. 'Pess One' opens with clinical precision - pin-sharp drums where every element earns its place 'Pony Boy Club' drives harder, laser bleeps piercing cavernous reverb and kicks that never quit. 'NRG-97' reaches back into a nostalgic palette with dread-filled bass and dark percussion. Closing track 'Under Surveillance' is the moodiest of the lot - a claustrophobic, paranoid and unsettling world of Terminator terror.

UFOs are nothing if not predictable and so it proves as this particular one is back in our orbit after more than two years away. The cult label signs up Mexico's DJ Natas to pilot a new mission to the edges of our solar system and hard-hitting cosmic industrial space tech is his vehicle of choice. 'The Titan Of Terror' is a busy sound laced up with wiry synths and acid prickles and it hits hard. 'F The Pain' rides stomping metallic drums and has eerie pads shimmering in the background while 'Stay Deep' is more sparse and dark with textured acid and spoken word musings, making it a more mental trip then 'Abracadabra' closes with a hint of psychedelic magic.

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

Pierre Mariétan (1935–2025) was a prolific Swiss composer, sound artist, and pioneer in acoustic ecology who spent most of his life working in France. Over his long career, he composed more than 300 instrumental, orchestral, vocal, and electronic pieces. Mariétan studied under avant-garde legends like Pierre Boulez, Karlheinz Stockhausen, and Bernd Alois Zimmermann. In 1966, he founded GERM (Groupe d’Étude et de Réalisation Musicales), a music collective that blurred the lines between strict composition and free improvisation. In 1969 the French BYG label released a GERM album and the same year GERM played at the legendary 5-day Festival in Amougies, Belgium, sharing stage with Pink Floyd, The Soft Machine, Frank Zappa, Don Cherry,…

In 1979 Mariétan founded the Laboratoire d'Acoustique Urbaine (Urban Acoustics Laboratory) to bridge environmental sounds, urban architecture, and musical composition. Mariétan was also a professor at the University of Paris where he taught the relationship between sound and space. Later in life, he remained active as a director for the Movement of Environmental Sound and continued developing permanent, immersive sound installations across the globe. His album Musique d’été was originally released on cassette back in 1983 by Éditions Salabert and Costin Miereanu’s Poly-Art International, and it has been slightly tweaked for this LP reissue. The record splits his vision of "Summer Music" into two different vibes. Side A is a deep dive into an electronic, synthesizer-driven landscape, while Side B features raw acoustic field recordings of forests and traditional Swiss alphorns.

Adjust the intensity of the sound at the same level, if not just above the background noise specific to the place of diffusion.

The first Af Ursin album in a decade, this release features extraordinary Belgian vocalist and performer Bénédicte Davin. »Ad Fontes« is a personal response to the fractured reality of our time. Created in the wake of visible social decay, manipulation, and institutional control, the album serves as a sonic mirror to an era defined by corruption and systemic failure. Instead of preaching political manifestos or claiming to have answers, this work is an intimate personal statement – a silent call to embrace spiritual values as the vital, untainted source of human nature.

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

Pyromancy is the debut album from Furii (pronounced Fury) which is
the alias of Adrien Rodes AKA Topo Gigio and long-time member of Tim Smith’s
Spratley’s and sometime musician in Cardiacs’ live band.

Reissue from the legendary Proto Garage Record Label Same People, which released some of Persian & DJ Texsta's most pioneering UKG E.P.s.

The Duo helped define the early sounds of UKG & the then unheard sound of Speed Garage, Dubstep & Grime. The Duo had massive success with records like Dangerous & Well Well Well.

New full-length from MINIATURa, following Geometria Prohibida (Keroxen, 2020). Espectral was recorded inside the iconic Keroxen oil tank in Tenerife — a brutalist chamber whose metallic resonance seeps into every track.
Motorik tension, post-punk restraint, shoegaze and darkwave undertow surface and dissolve throughout, but this is no genre exercise. The album feels lived-in and physical: drums hanging in open air, guitars stretching into steel-lined decay, moments of synthetic clarity torn open by abrasion. Propulsion and erosion move side by side.
There’s a rawness here that isn’t aesthetic — it’s architectural. The tank becomes a silent collaborator, shaping space as much as sound.
Lyrically, Espectral unfolds through elliptical micro-poetry, tracing life, love, death and social fracture in fragments rather than declarations. Nothing is fixed; everything hovers.
One of the strongest independent statements to emerge from the Canary Islands in recent years, Espectral finds MINIATURa operating on its own frequency — austere, immersive, and built to linger.

We are Excited to announce - The Department of Almost with our first full-length LP - Second Office. The Album
will be released via WSNWG on October 9th.
„Developed over extended Berlin studio sessions in January 2026, the record brings together two artists whose
respective platforms, STOOR and WSNWG, have long embraced artistic exchange and open creative practice.
Moving between crafty dancefloor material and more reflective and exploratory compositions, the album
develops a shared sonic language that extends beyond their two unmistakable, longestablished artistic voices.
Across eleven compositions, deliberate dancefloor material is elegantly intertwined with calm and spacious
soundscapes. A propulsive current gives way to passages of suspension and introspection. While rhythm and
atmosphere gradually fold into one another, the record favours gradual transformation over dramatic gesture.
The album's quieter moments open up a more contemplative space, extending its emotional register without
departing from its forward motion. Beneath, a subtle and understated sense of distance evokes spacious
environments and glacial landscapes – topographies in cold light.“
We have setup a preorder with the first Single - Fingerprints - on Bandcamp. A limited special edition will be
released via WSNWG Bandcamp on September 4th - 12.00pm CET.
All Tracks Written, Produced & Performed by Speedy J & Rødhåd in January 2026 at WSNWG Studio in Berlin.
Mastered by Conor Dalton at Calyx Mastering Berlin Vinyl Cut by Lathesville Mastering Berlin
Cover Foto by Thomas Beutel


a A1 Cold Start 260114
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

A channeling of restless spirit and ritual movement, knowledge that travels beyond its origin, pressed into black wax. An imprint of a hidden world, where soundscapes and movement are celebrated. A living archive, carried forward.



[c] b1. Adodgi Manifesto [vocals by Kynsie]

Individually, Justo the MC & maticulous have impressive resumes in the underground hip hop circuit. Justo, who came up under the Gang Starr Foundation, has worked with Lord Finesse, Rockwilder, Marco Polo and DJ Skizz, releasing numerous projects, most recently “Black Ops,” produced entirely by Showbiz of DITC.

maticulous, who came up under Fat Beats NY, has delivered several producer albums and instrumental projects having produced for the likes of MF Doom, Masta Ace, Your Old Droog, Fame Of MOP, Blu, RA the Rugged Man and many more.

After a chance meeting at SiriusXM studios, the duo started to craft what would become “Mind Of A Man.” This album showcases the feeling of Brooklyn hip hop that stands firm on tradition, giving you true school flavor you’ve been missing. Featuring guest appearances by Kev Brown, Rasheed Chappell, DJ Eclipse and Davenport Grimes.
Limited edition of 300 hand-numbered copies, with the first 100 pressed on black / grey A-side B-side vinyl, the remaining 200 pressed on black vinyl.

It’s safe to say that Rochester, NY rapper of Italian descent Pounds’ work ethic is unmatched: he’s constantly on the grind, loud in the lab but quiet on the outside, he wastes no time unlike many other big mouthed rappers these days and then, all of a sudden, he drops a bomb on you. To kick off 2018 in the best of ways, he released a 4-tracks collaboration EP with West Coast producer , 1/2 of Gangrene, Oh No entitled “Borgata”. The record opens up with “Last Supper” and with a clear statement of intent: “Run for your life, my cousin brought a drum and a knife, break my hand on your face I need a bucket of ice” just so you understand where this project is headed since the first song. His style is always direct, without any frills, with his trademark voice spitting gritty crime-themed bars that revolve around drug and the street life that raised him. A “borgata” in Italy is a “hood”, and Pounds, being the definition of an artist that talks the talk and walks the walk, couldn’t pick a better title for this project.

Limited edition vinyl release of 500 hand-numbered copies with etched B-side, black vinyl.

This is the reissue of original 1993 Rephlex double vinyl album, completely remastered from DATs by Beau Thomas, with the original artwork, and photography by Richard James. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.













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Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

Blume returns to James Tenney's Postal Pieces with a second volume: the three Swell Pieces and Koan, written for Alison Knowles, Pauline Oliveros, La Monte Young and Malcolm Goldstein, on vinyl for the first time from one of the key suites of 20th Century avant-garde music.

In 1970, James Tenney (1934-2006) reversed the entropy of his own life and went west. After spending the majority of the post-war years at the centre of cultural ferment in New York, he accepted a position at the newly inaugurated California Institute of the Arts (CalArts), alongside Allan Kaprow, Simone Forti, John Baldessari, Nam June Paik, Alison Knowles, Morton Subotnick, Harold Budd and Charlemagne Palestine. While the move began an enduring period of relative obscurity, Tenney quietly remained one of the most distinct and groundbreaking composers of his generation, producing a remarkably focused body of work inquiring after the elemental character and perception of sound.

Among the most celebrated of his efforts are the Postal Pieces, a suite of eleven compositions completed in 1971. Citing his strong dislike of writing letters, Tenney sent his friends short scores on the back of postcards. The eleven pieces are composed around three themes: his concept of swell form (utilizing repetition and progressing through a structurally symmetrical arch), intonation, and the desire to produce "meditative perceptual states."

Composed for a group of friends - the visual artist Alison Knowles, the composers Pauline Oliveros and La Monte Young, and the composer and violinist Malcolm Goldstein - the four works on this second volume are intimate, poetic and discreet. They were written roughly contemporaneously with the formation of minimalism by many of Tenney's closest friends, and share its elements of chance, durational tone, repetition and constraint, but they approach them on different terms, anticipating the more complex forms of post-minimalism. Rooted in gestalt theory, they are music in which the composer almost entirely disappears, offering greater attention to the artists to whom they were sent and to the subjective experience of the listener.

A student of Carl Ruggles, John Cage, Harry Partch and Edgard Varèse, an active member of Fluxus, a pioneer of computer music at Bell Labs and a collaborator of Carolee Schneemann, Tenney represents a winding thread connecting the entire history of American avant-garde and experimental music. The second collection by Blume attending to the Postal Pieces, recorded by The Barton Workshop under the direction of James Fulkerson, follows the long sold-out first volume (BLUME 022). It comes with exact replicas of the original postcard graphic scores and newly commissioned liner notes by Bradford Bailey.

Nach ihrem für den Polaris Prize nominierten Debüt "Mascarade" (2023) meldet sich die kanadische, in Lissabon lebende Künstlerin Gayance mit "roaming" zurück. Als klangliches Reisetagebuch, das den Bogen von haitianischen Wurzeln über den Londoner Broken Beat bis zur rhythmischen Hitze Brasiliens spannt, ist das neue Album ein Meisterwerk diasporischer Erzählkunst. Indem es energiegeladenen 90er House mit Boogie-Elementen, französischen Texten und spirituellem Widerstand verbindet, zeichnet "roaming" ein Jahrzehnt des Unterwegsseins und der radikalen Selbstbehauptung nach. Es ist eine trotzige und zugleich feierliche Rückgewinnung der eigenen Handlungsmacht einer prägenden Gestalt der globalen elektronischen Musikszene. Mit Gastbeiträgen von Judith Little D, Waahli, Magi Merlin, NARCY und De.Ville.

The return of the Dutch masters of deep! Rotterdam techno veterans Duplex show how it's done with three lush & warm interstellar techno tracks from that forgotten future... Pure, dedicated and very well-crafted. This will orbit the dancefloor straight into outer space. And as an extra the Steven Tang remix of 'Jx3PO' to heat things even more up. Well done Dolly!

Klakson celebrates its 20th birthday with a super strong triple 12 inch various artists package! Number 1 of this series with tracks by 214, D_roots, Mesak and Duplex!!!

For the fourth release on his Wolves That Drift label, Wolfdrifta explores sounds that shaped a generation, blending early rave influences with contemporary production style.

Opening the EP, Peckham 1991 channels the unmistakable spirit of early 90’s bleep techno, weaving together squelching acid house tones, haunting sci-fi pads and hypnotic grooves. Pipo’s Theme follows with a driving breakbeat workout, capturing the energy of the era while adding a crisp, modern twist. Bringing the release to a close, Sunwalker offers a deeper, more reflective moment, where warm bleeps, euphoric pads and swinging breakbeat rhythms create an uplifting and spacious finish.

Rooted in nostalgia but looking firmly ahead, the EP reflects Wolfdrifta’s passion for timeless electronic music and his commitment to carve out his own distinctive sound.

HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.

There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.

Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.

Anyone with a passing interest in disco will be familiar with the fine work of The Reflex, and now he's back with more of his multitrack magic. First up he beefs up the drums of 'Feel It' with a special 2026 rework that leaves the original vocals intact and brings the soul, with the strings add a touch of class and the baseline never quits. On the flip is an instrumental revisited and reworked for contemporary floors. It's a hip-swinging delight with some majestic jazz-funk overtones.

San Francisco electronic pioneers Darwin Chamber and DJ Spun head down the arcade for four tracks of the unmistakable flavour of modified 8 Bit sound chips from the 80s. 'LFO's Are Real' definitely nods to the Leeds duo that kicked the Warp Records revolution off, but that's just a starting point for some rough edged electro machinations and some spooky extra-terrestrial samplings. '8-Bit Phantasy' connects Chicago-style piano magic with acid undertows and gets brought to dancefloor life by a serious injections of funky ass breakbeatery. 'Intruder Alert' is the gnarliest of the lot, the bass end nothing if not speaker threatening, before 'We Gotta Get' is wonderfully disorientating disco dub delirium. Raw and direct, this will set the floor alight quicker than a can of petrol and lit match.

A whole host of red-hot The Reflex flips have landed recently and this time it's TMB who drop a pair of disco delights. The opener is a smooth and low-slung cruiser with neatly knotted bass riffs and sparkling melodies that lead to a slow but sensual takeoff. On the flip, 'Lady' reworks a classic into a steamy late-night sundown sound with jazzy chords and the original vocals turning up the heat. Both are masterfully tweaked and touched up by a true titan of the dit game.

Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.

Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.

Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.

Marc Cotterell shows his A&R class here with another brilliantly assembled various artists EP on his Plastik People label, which is essential for fans of timeless house and garage fusions. The record kicks off with Deep South Soul's 'Harmonica Man' as remixed by Mellow Man and it has a touch of the bluesy Saint Germain to its lithe deep house and spoken words. Mellow Man then drops the 90s-coded 'So Deep', with warm organ chords and bubbly drums that have a New York swagger to them. Manhattan Project turns up the heat with a raw, hardcore garage-house swinger in the form of 'Turn That Up' and Reign Of Rhythm layers up neat stabs and leggy kick drums on the sleazy 'Cum Inside'. Essential and effective house.

Sohrab Karimi is doing a fine job of establishing his still young but increasingly vital label Kolony Gorky with another superb two-tracker here. 'Work It!' kicks off at pace with slick, punchy tech house drums, but the structure of them is offset by liquid synths, trippy details, and warped melodies that bring an after-party vibe where space and time melt away to a fuzz. On the flipside is a deeper jam, 'Yousef Abad, which is slower, more dubby and soothing for those late-night hours when you just want to lock into a groove and zone right out.

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

Diffuse Reality and Periphylla present Catastrofe Club - Un futuro tranquilo. With electric songs, sharp messages, and a touch of dark humor, Catastrofe Club deliver a record that is both caustic and deeply enjoyable. The album imagines a future where humanity has disappeared and, at last, a radiant peace reigns. Across 10 tracks, they combine post-rock, post-punk, darkwave, and electronic textures with cinematic atmospheres, rugged spoken-word vocals, and their signature blend of darkness and elegance.

Music from Tokyo / New York serves as the 2024 sequel to his previous release, Music for Joshua Tree. This conceptual album is divided into Side A (Tokyo) and Side B (New York), utilizing field recordings captured in each location. The ceramic images featured on LP jacket is the work of Namiko Ishikawa (NamipotNYC).

On this record, he incorporates Ambient, Downtempo, Trip-hop, and Dub—bringing to life the specific sounds currently resonating in his mind and his original roots.

Since the pandemic, he has been traveling and capturing "environmental sounds" through field recordings, which served as the primary inspiration for this record. Side A features tracks inspired by the atmosphere of Tokyo, including recordings from streets, parks near his home in Japan. Side B explores New York, incorporating the sounds of Brooklyn and Manhattan, as well as the chirping of insects recorded in the New York mountains.

While the album remains centered on analog synthesizers and vinyl samples, he has introduced analog drum machines and glitch noise to craft the groove. Unlike his previous work, this release brings prominent bass lines and added more Dub elements to the forefront. His primary focus for this project was expressing a sense of "space" and "air" through the meticulous use of reverb and delay.

Throughout the album, he invites the listener to imagine the unique "local atmosphere" he experienced during his travels.

For our 30th anniversary, we drive back into the catalog to shine a light on two essential releases: Street Knowledge (log55) and Dial (log59) by Tobias.

Originally released during a time when groove, hypnotic repetition and sonic depth mattered more than formats or trends, these two EPs perfectly embody the label’s timeless aesthetic: functional yet subtle music, made for both the dancefloor and deep listening.

For this special reissue, we carefully selected the four strongest tracks from the two EPs. Four cuts that capture the core of the Tobias. sound: organic rhythms, soul-infused minimal house, raw yet elegant textures, and an unmistakable sense of groove that has aged flawlessly. A timeless classic…

Father Hervé and son Louis return as FRONTMASCHINE with “Rühren”, their most accomplished and refined work to date. United by a shared passion for the rawest and most uncompromising forms of EBM, the duo continues to explore the essence of body music while pushing their sound to a new level of maturity.

On “Rühren”, cold, almost chilling polyphonic synthesizer melodies intertwine with their classic relentless drum programming that sits somewhere between the militant precision of DAF and the mechanical drive of the “Commando days” of Front 242. Every track is built around pure functionality: no unnecessary ornamentation, no concessions—just stripped-down, commanding rhythms designed to move bodies.

This is an exceptionally DJ-friendly record. Each cut is crafted for maximum impact on the dancefloor, making “Rühren” an essential tool and a true secret weapon for any DJ devoted to uncompromising body music. Martial, hypnotic and brutally effective, FRONTMASCHINE once again prove that the most direct approach is often the most powerful.