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Gwenan Spearing, known for her perceptive, groove-oriented DJ sets, and more recently as a live performer working with hardware improvisation, launches a new imprint, Phase Space, with Degrees of Freedom, a debut album diving deep into generative electronics, modular systems, and real-time response. Composed and recorded in 2019-2020, the album treats constraint as creative fuel, floating between ambient,
sonic sculpture, and improvisation, mapping Gwenan’s path from rural Wales to Berlin’s outer zones of experimental sound.
Sync opens with a theme on a slow triangle wave, expanding the space as it evolves. Some Pluck explores generative counterpoint using LFOs and Euclidean rhythms. Generator I unfolds in an oscillating time where keyboard and bass circuits cross-modulate. Sleep Pressure is a lullaby for grown-ups, capturing that eerie threshold before sleep, followed by Loper, where time flows fluid and unstable. The closer, Generator II, holds machine heartbeats in delicate equilibrium before unraveling into graceful decay, a soft farewell. (That’s the Universe waving.) Degrees of Freedom is algorithmic music with a pulse: visceral, hand-wired, and built for deep listening.

Fuse resident Downside delivers the ninth release on Fuse Imprint, showcasing his sharp and emotive sound signature. Traces Of Spring forms a powerful yet delicate journey, balancing intensity with subtle detail. A perfect reflection of his evolving artistry within the club.

Sound Metaphors 23 is back with more output from the pioneering free-party clan & scourge of the establishment, Spiral Tribe - this time with a reissue Stormcore 3 from 1996. This record comes from the mind of 69db aka Sebastian Vaughan, the improvising electronic musician who joined Spiral Tribe after their infamous ’91 New Year's Eve party at the then-abandoned Camden Roundhouse. We have here three powerful cuts of uncompromising hardcore freetekno - coming in north of 180bpm but structured on complex rhythmic patterns so this music is at once punishing yet also meditative, penetrating deep within the micro dimensions of these newly explored sonic paradigms.

RNT is rebooting the beloved House of Spirits project with a 7Inch series streamlined for the dusty donut heads. First up is the one that started it all 'Holding On' on the A side with it’s P&P meets rare-groove-gospel flavor that essentially defines Tom Noble’s HOS sound, and crowd favorite album cut 'Love Trip' on the flip. Never-leave-the-bag material!

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

Housed in die cut sleeve with info sticker.

A UK breakbeat gem from Static Flow- spread over 2x 12"s. Limited white label only double pack. Class.

The idea of the project is to reconstruct a different perspective of Tribal Italia, an imprint set in 1995 in Riccione.

The label recollected the attitude of the Afro/Cosmic djs of the region like Meo, Fary, Fattori and Brahms that created a distinctive "world-sound trademark" in whole Italy and Europe (as seen lately in the Austrian experiments of Stefan Egger).

There was a side of the label that was clearly influenced by the "heavy-sample" culture of Hip-Hop and, especially, by what was going on in the UK where groups like Transglobal Underground and Loop Guru were creating a new identitarian imagination.

These influences gave birth to a suggestive selection of the best breaks of the Tribal Italia catalogue

Lontra is the new project from Brazilian born, Colombian based producer, and musician, Guille Katorzi. The inspiration and influences for this particular project were drawn from diverse sources, including disco, house, Nigerian boogie & afrobeat.

The instrumentals were and produced in Bogotá with Guille laying down the guitar & bass parts which the songs were built upon. After sending the demos to vocalist Sir Jean (Voilaaa/Sir Jean & NMB Afrobeat Experience), with an invitation to collaborate, he was thrilled to receive a warm response to the songs from Sir Jean and so travelled to France in 2023 to record vocals in the singers' home town of Lyon. Returning to Bogotá, a selection of top brass musicians contributed their blazing horns to the project.

Opening up the EP, "Money, Money" serves up a lively disco beat with percussive Afrobeat highlights, funky guitar licks & Afrobeat inspired horn parts, backed by an irresistibly groovy bassline, setting the scene for Sir Jean's lyrical warning "money cannot buy your soul".

Dropping some of the Afrobeat accents and staying closer to the centre line, "Life Is Movement" is a dancefloor focused track where Katorzi's guitar hook pairs with a restless bassline over which Sir Jean's vocal delivery shines. The flipside begins with a sensuous overture on "Mysterious". A loose Afro-beat & guitar syncopation provides an inviting space for the horn section's refrains and solos. The arrangement allows plenty of room for the listener to become intoxicated by the groove, before Sir Jean opens his heart with the emotive ode to someone we learn of only as..."Mysterious".

Closing out proceedings is a more driving club track. The Lyon & The Hunter... where Sir Jean sings a warning wrapped in metaphors while Lontra throws down a club focused punch that deftly dances between funk, house and afro flavours while the scorching horns set the lot aflame.

The culmination of different inspirations and intonations imbues the project with a vivacity and richness in colour that reflects the multi-cultural assembly of players. Canopy is delighted to welcome the talent of Lontra to the family and are happy to say that this is the first in a number of exciting projects that this artist is serving up

Adam Wise, you may know, is Fabulous Lover and this new record marks his first for Pete Herbert's Music for Swimming Pools. It's a mature mix of 80s-inspired Balearic electro-funk with a tropical twist straight from his Bali studio. This sun-soaked collection bridges sunset vibes and dancefloor energy with 'It's Lonely At The Top' a funky opener with a squelchy bassline and playful riffs. 'Elevate' douses you in 80s synth sounds that glow warm, and label head remixes into a more buoyant Balearic house beat. Elsewhere is the gentle swagger of 'Low Bounce' and lush synth disco buzz of 'Automatic.' Feel-good grooves, for sure.

DJ Feedback

Ed Templ�:
"Stunning release!!"

Ben Gomori:
"Another beaut from Pete, gorgeous stuff"

Dicky Trisco:
"Nice chilled Balearic vibes"

Pathaan:
"Top release! Top package!"

S/A/M:
"Chunky, squelchy delights just how we like it :)"

Mat Anthony:
"Brilliant EP of 80's infused machine funk"

Justin Deighton:
"Will be playing a selection of these"

Joey Fitzgerald:
"Nice work!"

Bill Brewster:
"It's Lonely At The Top is the best track"

The 5th Acidlab from Spain is another true underground smash. Names like Benji303, Koko, and AcidRats are familiar faces in the acid techno scene. Pressed on silver vinyl and limited to 200 copies, it's a collector's item! AcidLab is part of the Flatlife Records Label Group.

Odessey One is probably one of the hottest, most appreciated and sought-after bands when it comes to caribbean funky Disco and Boogie music from Trinidad and Tobago.
These super talented musicians recorded a few incredibly good grooves in the Caribbean Sound Studio in the early 80s, which were long considered lost or very hard to find.
It was a bunch of friends around the composer, guitarist and singer Arnold Shuffler, like Nicholas Rostant, Carla Fauche and Colleen Grant, who came together in Port of Spain for a few jam sessions as a studioband.
Only a handful of vinyl copies were pressed from the tapes at KH studios pressing plant, which did not have much airplay at the time.
Sound Essence is more than happy about a renewed collaboration with mastermind Arnold Shuffler and to present this soulful island, disco, boogie synth funk to the music-lovers
community worldwide!

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

Written & Produced by Daniele Serraino (D/n), and Carlos Pineda (Linear Phase) all rights reserved

"Static Rite" is the result of a sonic dialogue between two producers-D/n and Linear Phase-united by a deep, hypnotic, and physical approach to techno. The EP unfolds within the realm of hypnotic/RAW tech- no, where repetition becomes a perceptual language and sound turns into ritual.

Italian-born, Berlin-based D/n contributes the A-side with "Resonant Shift" and "Blind Motion," two tracks built on dub textures, dark atmospheres, and broken rhythmic structures. His magnetic, slow-burning sound reflects years of evolution from the underground acid scene to immersive techno sets in venues like Tresor and Zur Klappe. D/n's tracks have garnered support from renowned artists.

On the B-side, Spanish producer Linear Phase offers "Mandatory" and "Silent Widow," showcasing his refined modular synthesis and deep sound design. With over 50 releases on labels like Drumcode LTD, Planet Rhythm, and Edit Select, his style fuses ambient depth with raw, hypnotic intensity.

Leeds-based producer Nathan Alexander kicks off KUJE's debut release with PROFETIA EP, a bold four-tracker that drips personality and club-focused energy.
A rising name turning heads from the likes of Blasha & Allatt and NIX, Nathan brings his signature blend of cheeky rhythms and weighty low-end to the table. KUJE001 proudly marks the first chapter of the label's journey, dedicated to unearthing raw, unfiltered talent.
The A-side delivers serious impact: Bound is a propulsive dancefloor tool built for DJs, while Rabbit Hole hits hard with distorted effects and a Blawan-esque edge. On the flip, Tracer floats into spacey, bounding territory with a touch of psychedelic energy, already picking up early support. Closing the release is Technical Itch, a UK-rooted banger that ties together the artist's heritage with the label's forward-thinking intent.
Each track carries Nathan's unmistakable character-playful, punchy, and irresistibly 2-steppable. This is techno with a wink, made for sweat-soaked floors and heads-down moments alike.

“This album is us appreciating how amazing this thing we have is. The realization of how lucky we are that we get to be part of something like this for 25 years, and to have built a community that cares for each other in the way it does. It’s not about any of us individually. When we all work together to make something happen, something bigger happens.” - Jono, Paavo and Tony – Above & Beyond.

If much of the mindset and mantra behind Above & Beyond over the last quarter of a century has been born from the idea of connection, then their fifth artist album ‘Bigger Than All Of Us’ is best summed up in one word: reconnection. It’s been seven years since Jono Grant, Paavo Siljamäki and Tony McGuinness released their fourth electronic album, Common Ground. A #3 on the Billboard charts – an achievement that speaks to the British band’s huge, arena-to-amphitheatre scale profile in America, a level of success replicated in pretty much every other corner of the world.

The time since has seen a series of projects come to life both collectively and individually: 2019’s ambient, yoga-and-meditation-friendly album Flow State, streamed over 400 million times worldwide; a series of club ready instrumentals under the Tranquility Base moniker; radio records ‘See The End’, ‘Over Now’ and ‘Crazy Love’. In the meantime, the band embarked on personal projects outside of the Above & Beyond framework. Grant collaborated with long time friend Daren Tate on 2022’s self-titled synthwave JODA album. In 2023 Siljamäki, reprised his P.O.S. alias, releasing dance floor focussed album Deeper Tales. Last year, McGuinness dug in his own crates for Salt, an album based on a studio-freshened selection of emotional singer-songwriter compositions originally written as the ’90s rave and Britpop fever-dreams faded. A worldwide touring schedule, their weekly Group Therapy radio show, and overseeing a family of iconic dance labels, Anjunabeats, Anjunadeep and, most recently, Anjunachill – it’s never quiet in the world of Above & Beyond.

Repress alert! Due to high demand and increasing popularity, it was just about time to repress this Delta classic! And since a new cut was required, we decided to include a very special bonus track: a neo-classical piano rework of Black Endlessness, composed and conducted by the highly talented Area Forty_One.

Exaiter 1

With shimmering synths, driving basslines, and cosmic rhythms, each track becomes a time machine—rooted in retro aesthetics, yet engineered for tomorrow’s dancefloors. The result is a sonic experience that’s as cinematic as it is danceable, channeling the spirit of neon-drenched nights and digital utopias alike.

A favourite selector for many within the underground, UK-born, Ibiza-based Miller has built a reputation for his hypnotic, low-end-led productions and seamless ability to weave obscure rhythmic patterns into immersive DJ sets. Founder of the Real Gang collective, he honed his craft as a resident at Ibiza institutions The Zoo Project and Ibiza Underground, where his dynamic, vinyl-focused style earned him recognition as a key player in the island’s grassroots scene. This natural progression has since led to the launch of Tomodachi, his new club, an intimate space that refl ects his artistic ethos and evolving infl uence on the island.

Harley Maxwell, meanwhile, brings a raw energy to the project, blending his sharp vocal delivery and lyrical edge with Miller’s meticulous production style. Their collaborative debut at fabric, during Miller’s all-night set, showcased a shared ability to push conventional boundaries, as they provided a fi rst glimpse into the music that would in turn become ‘Caviar’.

The EP opens with the title cut, a stripped-back yet infectious roller that glides between deep basslines, textured percussion, and subtle melodic fl ourishes. ‘How It Runs’ follows with its sharp drum work, zippy synths, and a playful groove built for the dancefl oor. Rounding off the release, the vinyl-only ‘Dreaming Experience’ sees Miller step out solo as he delves into deeper territories with hazy atmospherics, creating a tripped-out late-night journey. Arriving at a pivotal moment for both artists, their ‘Caviar’ EP signals a bold debut on FUSE – a label celebrated for its commitment to forward-thinking club music.