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SCALER are the electrifying Bristol-based band hailed as the city’s “next national breakthrough” thanks to their pulverising live show and meticulous, mind-warping sound. Now they’re back with ‘Endlessly’, a sublime and stylistically expansive new album. 10 potent tracks written and recorded more collaboratively than ever before, as SCALER explore what it means to make music with no ceiling.


Building on what they know and taking it in new directions has been a constant throughout the three-year journey behind ‘Endlessly’, which came together in the studio beneath Bristol’s legendary The Louisiana. Inspired by time apart, the album finds them reconnecting with their diverse sonic touchpoints – many tangled in their city’s much-mused-on musical heritage – and the creative energy of collaborators around them. Close friends and long-admired peers, including Akiko Haruna, Art School Girlfriend, Tlya X An, Shadow Stevie, Thomas Ridley and Cold Light’s ELDON add colour to SCALER’s darkened palette and point to the left-turns they’re leaning into. The intense softens into introspection. The blistering becomes a balm.


‘Endlessly’ is the second album from SCALER, a.k.a. Alex Hill, Isaac Jones, James Rushforth and Nick Berthoud, alongside visual artist Jason Baker. The record follows 2022’s acclaimed ‘Void’ and marks their debut for Bristol’s revered Black Acre, a longtime champion of genre-defying electronic music.

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

Two sides, two heatwaves pulled from the depths of Afro-diasporic analogue archives and reborn for contemporary dancefloors.

On the A-side, “Chiacchiere di Lavoro” is a razor-sharp re-edit of a Nigerian track, that is just like its new producers: obscure and way ahead of their time. The B-side dives into the Antilles: "Taxi Safari" is a rare tropical gem, reworked with finesse by editing maestros Lance and Disco Strummer.

But what is La Sirenetta?
La Sirenetta – “The Mermaid” in Italian – is a name that evokes memories of a Riviera discotheque, the faded glamour of a beach club, or a fried fish shack glowing in the sunset.

In fact, this La Sirenetta is a sub-label of Maledetta Discoteca Records, dedicated to digging, selecting, and editing analogue World Black Music bangers from the ’80s and giving them a second life.

The formula? High-quality, highly collectible 12” double-siders.
All La Sirenetta records are a limited edition, one-time pressing only. Don't miss them!

"Pretty Close", Ethel Lindsey's debut LP, marks the beginning of a new musical journey, showcasing the talent and heartfelt nostalgia of this gifted singer-songwriter. Deeply rooted in the sound and spirit of the 1970s, her work draws from the golden age of Soul, Funk, Disco, and AOR, blending these genres with elegance and authenticity. Her songwriting and vocal delivery are so true to the era that one could easily imagine this album emerging straight from a California studio in 1976.

Entirely composed, written, and performed by Ethel Lindsey, Pretty Close is a deeply personal and cohesive body of work. From lush harmonies to groove-driven arrangements, the album captures the warmth and depth of vintage recordings while offering a fresh and intimate take on these timeless sounds.

Once again, Favorite Recordings brings its signature dedication to the project, ensuring every step of the process—from production to final mix—remains faithful to the sonic and aesthetic codes of the era. The album was produced using a maximum of vintage analog equipment, staying true to the texture and character of original 70s productions.

This is not merely a nostalgic tribute—it’s a sincere continuation of a musical tradition. With a deep respect for the past and a forward-thinking spirit, Ethel Lindsey breathes new life into classic genres, reaffirming their relevance in today’s musical landscape.

As Ethel herself puts it:
"The songs on this album offer but a fleeting glimpse into the whimsical, melodic reveries that may have danced through the mind of a young girl growing up in the northeastern suburbs of Paris, France during the early to mid-1980s. They are, perhaps, the earliest echoes of a fraternal musical upbringing—an inheritance both consciously absorbed and unconsciously imprinted—shaped by shared moments, half-remembered sounds, and the mysterious alchemy of childhood imagination. This collection is, in essence, a first distillation of that early inner world: playful, imperfect, sincere."

Unleash the groove with this rare jam – a Street Funk remix of a legendary track from one of hip-hop’s most iconic voices and his powerhouse Flipmode Squad. Known for delivering countless hits and unforgettable anthems, this collective has once again blessed the decks with something truly special. Previously unreleased on 7” vinyl, this DJ-friendly edit is a treasure for any serious DJ and collector.

The pressing quality is simply mesmerizing, built with clubs and dancefloors in mind. From bouncing beats to fluid basslines, from uplifting keyboard chords to soulful vocals and razor-sharp rap verses – it’s got all the ingredients of a certified smash. Whether you're setting the tone or saving a set, this 7” is a go-to weapon for DJs worldwide. There’s not a problem this squad can’t fix and for sure this 7” will save a DJs life every night…

Eddie shows up to this game alone, wielding, as ever, a deft and unbeatable trigger finger on the sampler...

Reprising those beloved 7 Inches Of Pleasure and early Red Motorbike vibes on some deadly Madlib style downtempo cuts, and quick Cut 'n Paste workouts

LJ Simon, who collaborated on those killer recent Sandy B releases lends a hand too, it's a joyous Disco-House affair that reminds us of those old Tony Senghore jams from the 90's

Fruitful and fully juiced up joints for the Disko Universal !

For its sixth release, Rio de Janeiro’s Onda Boa label sees founder Joutro Mundo, step up once again - this time reviving and re-vibing Netinho’s independent 1980s bop, “Du Du Du Domingo”.

Netinho first made his mark in the 1960s as the drummer for Brazilian beat icons Os Incríveis, then again in the 1970s with the heavier, lysergic sounds of Casa das Máquinas. By the 1980s, he had turned toward a new vision, inspired by the spiritual group Amor e Caridade. Released on his own imprint, Manancial do Amor, 1982’s Apartamento 97 – Projeto Amor & Caridade Vol. 2 brought together heavyweights Zé Rodrix, Faísca, and Manito to expand on this funky, pop-rock chapter first introduced with 1980’s Amor & Caridade Vol. 1.

According to Netinho, a year passed in search of inspiration for the follow-up LP before he began receiving notes and poems through his medium, dictated to her by his “protector.” Following that divine intervention, the album’s songs were completed in just two days—including the standout track, “Du Du Du Domingo,” an ode to the beauty of a Sunday afternoon after the toils of the workweek.

Side A presents the original track, lovingly remastered, in all its stripped-down, idiosyncratic glory. A bubbling synth bass paired with a nimble electric bass line set the stage for the plunky synth melody that defines this anomalous yet infectious gem—before giving way to a samba break and a wafting crowd noise that instantly transports you to a sunny Sunday by the sea.

On the B-side, Joutro Mundo injects a new vitality into the track with crisp hi-hats, a thumping kick, and other subtle studio magic. The samba break is brought forward, while the electric bass line—previously bubbling beneath the surface—rises to center stage around the three-minute mark. True to form, Joutro Mundo avoids the obvious, drawing on his deep crates and production sorcery to conjure up yet another gem for the balearic heads and other lovers of left-field dancefloor deviance.

Ukokos back on a super-limited white label !!

Using the vocals from Cassio Ware and Blaze's classic 'Funky People', this is a raw and possibly even funkier re-rub than the original House classic.
The Ukokos production is deep, gritty, and loaded with a large dose of underground electronic 4/4 funk. We reckon this will turn some heads :

Tuskegee continues apace with ‘Work Come First’ from Life on Planets, a flawless blend of classic house, R&B, and conscious songwriting, remixed with finesse by Omar S and Soul Clap’s Charles Levine.

A modern-day hymn to hustle and stride, ‘Work Come First’ doesn’t chip away at the soul in pursuit of success. Working in collaboration with like-minded producer Seven Davis Jr., Phill Celeste applies his key alias to a triumphant, full-bodied songwriting moment. Led by beautiful organ piano, mingling with the artist’s defiant vocals and defined by the feel of a full live band, ‘Work Come First’ continues Life On Planets' beguiling, genre-crossing journey.

In ever-charismatic and minimal mode, Detroit icon Omar S breaks down ‘Work Come First’ into core elements for the floor, blowing out the system and applying Life on Planets’ vocal performance to a raw, lo-fi arrangement with a hint of street soul. In neat parallel, Charles Levine delves into the more full-bodied, rich elements of the track, tripping on the sophisticated funk long associated with the Soul Clap founder’s oeuvre.

Complimenting both takes, producer Seven Davis Jr. provides an alternate ‘Sev’s mix’, a little rougher around the edges for dancers under red lights.

Lilya Mandre makes her Crosstown Rebels debut with her emotive three-tracker, ‘Exi(s)t’. Out on 10th October 2025, the Casablancan artist unveils two originals, including a collaboration with Zac Martel and Jono McCleery, backed by a remix from Haitian star Francis Mercier. Marking her first appearance on Damian Lazarus’ iconic Crosstown Rebels imprint, Moroccan-born artist Lilya Mandre steps into the spotlight with ‘Exi(s)t’. Landing on 10th October, the EP pairs her expressive, melodic style with a striking vocal feature from UK-based singer-songwriter Jono McCleery and a collaboration with Montreal’s Zac Martel, completed by a stellar remix from Haitian heavyweight Francis Mercier.An ascending name in the global electronic sphere, Lilya Mandre channels her Casablanca roots into a sound that balances deep, minimal-leaning grooves with raw emotional weight. Her magnetic presence has already taken her to stages such as Hï Ibiza, where she joined Crosstown head honcho Lazarus for his summer residency, plus the likes of Moga Festival, La Clairière Paris, and Picnik Electronik, while recent releases on Mind of A Genius, IN/ROTATION and Madorasindahouse continue to position her as one of the scene’s most exciting breakthrough candidates. With ‘Exi(s)t’, she brings this same captivating energy into the studio, weaving powerful collaborations and evocative solo work into a release that captures her artistry in full.

Opening track ‘A Part Of Your Soul’, crafted alongside. Canadian producer Zac Martel (Madorasindahouse), sees Lilya also link up with acclaimed English singer-songwriter Jono McCleery (Ninja Tune), whose delicate and soulful vocals glide over rich synth work and fluid percussion to deliver a stirring and cinematic cut. Deep Roots founder Francis Mercier then steps in on remix duties, injecting his signature blend of worldly percussion and driving energy to transform the original into a hypnotic, club-ready anthem. Closing the package, ‘Malou’ takes things deeper as Lilya steps out solo, layering subtle melodies and textural flourishes for a track that’s both restrained and emotionally resonant. With its balance of expressive collaborations and immersive solo work, ‘Exi(s)t’ sets a compelling tone and brings an impressive debut to Crosstown Rebels, showcasing her ability to craft moments that resonate both on the dance floor and beyond.

People of Earth,

They assigned me your heavy, brooding planet. I don’t complain. Because what lies ahead is Contact.

You are still primitive. That’s not an insult — just an observation. You’re tangled in your inner workings. Fascinated by your metaphysical genitals, if we’re being precise. And yet — your spirit scored pretty high on the Interplanetary Index. Which is rare, and promising.

Your Enlightenment is near. And Enlightenment is essential — for Contact.

Many of you have already tasted the Synthetic Harmonies.
They’re signals. Invitations. Crafted by Artists who, knowingly or not, have already opened the gate.

You look up. You name stars.
You build flying machines.
You surf the sky in metal tubes, sipping juice.
You make big sounds with small boxes.
You fly above the clouds — and play with fire, hoping it counts as progress.
It does.
You’re getting closer.

But first, you need to fix one thing.

Learn to float.
In sound.
In light.
In pulse.
Float in the silence between the kicks.
And stop talking on the dancefloor!

Soon, we’ll drift together through the Great Cosmic Pattern.
Soon, your voices will be heard beyond atmosphere —
not shouting, just resonating.
Believe — Contact is closer than you think.

Truly yours,
The Upgrade Cube

Bobby Caldwell is legendary for his blue-eyed soul masterpiece What You Won’t Do For Love but a deeper look into his catalog reveals there’s plenty more where that came from. Danny Krivit heads straight to the source, and uncovers a breezy treat in the form of The House Is Rockin’, Caldwell’s very first single. Kicking his edit off with a highly mixable extended drum break intro, he teases this upbeat mover into the fully extended version it deserves.

From the sunshine of the A-side Krivit pivots to a monster moody groove on the flip, Eddy Grant’s proto-house classic California Style. Leaving just a touch of the soca-fied vocal at the top, Mr. K quickly delves into the depths of the percolating instrumental break, emphasizing all the gloriously quirky synth bloops and relentless bass that made it a favorite of house producers (check Mateo & Matos’s New York Style for proof). We believe this is the first time the extended mix has been available on 7-inch, but we’re absolutely certain it has never sounded so good! Another crate staple in the always excellent Mr. K edit series.

This single gets together two rare and important tracks from legendary producer Lee “Scratch” Perry with singer Neville Grant.

SICK AND TIRED, the great vocal version of RETURN OF THE DJANGO, was released in 1973 on Downtown (DT.509) whilst
BLACK MAN’S TIME was released in 1972 on the Upsetter label.

These two outstanding tracks are in our opinion the best of Neville Grant’s recordings and among Lee Perry’s very best productions of this era.

As such, they were featured on several top compilations but are both quite rare as singles and highly collectable today…

The Toxic Funk series keeps the dancefloors moving, and for Volume 17 we welcome back the ever-funky duo Suckasidewith a pair of groove-heavy gems pressed on 7" vinyl. DJ B-Side and Sucka Timmy once again show their mastery of blending classic soul, funk, and RnB flavors with breakbeat punch.

The A-side, Hot Pants I Just Wanna Love You (112 BPM), is pure sunshine soul on wax – bright and upbeat with crisp breakbeats, silky vocal chops, and infectious horn stabs. Its warm groove and steady energy make it the perfect opener for a DJ set or a surefire way to lift any crowd.

On the flip, Dang Lazy (SuckaSide 45 Edit) kicks things up a notch with a faster, more driving funk workout. The bassline struts, the drums snap, and playful vocal snippets dance over the top, all tied together with Suckaside's tight, polished production. It's a party starter with a cheeky edge – perfect for when the floor is already buzzing and you want to take it higher.

Detroit, MI – – Blank Code Records, a cornerstone of the underground electronic music scene, is proud to announce the launch of its highly anticipated sublabel, Modern Relics @modernrelicsrecords. This new venture is set to redefine the future of electronic music by merging a diverse range of genres, including techno, drum & bass, atmospheric, polyrhythms, ambient, and dub.

Conceived in the heart of Detroit, Michigan—an internationally renowned hub for electronic music innovation—Modern Relics is dedicated to exploring the freshest, most experimental soundscapes. The label aims to introduce listeners to groundbreaking productions that push the boundaries of genre and convention, reflecting the cutting-edge spirit of the underground scene.

Modern Relics will serve as a platform for both emerging and established artists who are unafraid to break free from traditional constraints, weaving together intricate rhythms and atmospheric textures that captivate and challenge the listener’s perception of sound. Drawing from a wide array of global influences, the label will focus on music that’s as dynamic as it is genre-defying, from hypnotic techno to the pulse of drum and bass, with hints of ambient sound design and the intricate complexity of polyrhythms.

"We wanted to create a space where experimentalism meets accessibility, where the boundaries of different genres can be blurred and redefined," says Co-Founder Chad Parraghi. "Detroit’s legacy in electronic music made it the perfect place to launch a new chapter that honors the city’s rich history while also pushing into the future with new and innovative sounds."

Modern Relics will launch with a series of forward-thinking releases. Expect immersive soundscapes that transport you into uncharted auditory territories—one where techno meets the experimental, drum and bass merges with ambient sound design, and dub echoes resonate within polyrhythmic structures. The label will feature a diverse roster of talented artists whose work reflects the international underground, bringing together voices from every corner of the globe.



Bio: Echoføn is the project of Detroit producers and Blank Code co-founders Chad Parraghi and Corbin Davis. Their music pulls from the roots of Detroit techno while folding in the energy of drum & bass and the complexity of polyrhythms, giving their tracks a sound that feels both raw and forward-looking.
Through their work with Blank Code, Parraghi and Davis have long been part of Detroit’s underground, building spaces for artists and pushing new ideas into the scene. Echoføn is a natural extension of that—two voices combining into something new, but still grounded in the city that shaped them.

Their first release, the Empty Space EP on Modern Relics Records, has already picked up support from artists like Polygonia, Kangding Ray, and Forest on Stasys, marking an exciting start for what’s ahead.

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

Enter DJ Fly’s sonic arsenal with this precision-engineered breakbeat, crafted as a high-performance toolkit for the modern turntablist.
This vinyl delivers a sharp selection of expertly curated sound banks, including signature samples from DJ Fly’s legendary DMC routines, along with exclusive, never-before-heard material. All content is organized into thematically distinct sections to optimize workflow and creative output:
Epic & Orchestral – Acoustic & Electronic Instruments – Modern Textures & One-Shots.
Custom skipless loops (skipproofs) are designed to streamline cueing and enhance performance fluidity across all scratching and beat juggling techniques.
Features one side cut at 45 RPM and the other at 33 1/3 RPM, providing expanded control over pitch, tempo, and phrasing – perfect for hybrid routines and intricate transitions.
Each bank is structured to ensure harmonic, stylistic, or tempo-based coherence (BPM-aligned), supporting seamless layering, real-time improvisation, and the construction of musically cohesive sets.
A precision-cut breakbeat, purpose-built for vinyl technicians and battle-ready routines.

a A1 - The King's Bank Am/90bpm
b A2 - Bass Armor Bank [Fm/180bpm]





[h] A8 - Skip Beat_Crown Drum [90bpm]

[j] B2 - Durandal Bank [133,33bpm]
[k] B3 - La Joyeuse Bank [83,33bpm]
[l] B4 - Excalibur Bank [100bpm]

[n] B6 - Classic Cuts Bank [100bpm]


[83,33bpm]

"I want to hear more of Ryo Fukui's performances." The dream of listeners around the world has now become a reality. A spectacular live performance full of the charm of the mature Fukui who has been with .This is what an unexpected joy is all about. The appearance of Ryo Fukui's "new work". Recorded on June 26, 2004. This is a live recording of a live performance commemorating the 9th anniversary of , the jazz live house that Fukui presided over and used as the base of his activities.



The members of the trio were Fukui, Kosuke Sakai (bass), and Yoshito Eto (drums). Fukui was 56 years old at the time. His performance was powerful and large-scale, yet delicate and sharp. In terms of the balance of energy, stamina, and technique, he was just approaching his prime. He spins heavy yet elegant renditions of his beloved Phineas Newborn Jr. and Tommy Flanagan, and thrillingly plays Wayne Shorter, who he was a huge fan of in his youth. It is a spectacular performance that reflects the fulfillment of Fukui's time. , which opened in June 1995, is celebrating its 30th anniversary this year.



Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

A successful debut - MAXIMILIAN EP 6 on his imprint.
The classic house EP that reminds of early Detroit and Chicago tracks with a modern touch!
An extrardionary EP, a string of mysterious releases appeared on the UK based EVIDEON Studio Records, specialising in Deep-House and Electronic music from the early 90’s.
Quality deep-house as usual from Maximilian's archives is being treated to some epic sounds of this two songs, now available on vinyl.

The rare and resonating auras of CCO arrive on Analog Concept Records with the EP Cosmic String, designed to take the listener on an electro journey of melody and mystery.

Side A opens with confident missions captivating the soul and body through building layers of acidic 808 funk, ghostly ethereal chords, and the deep vision of Breaking Phase Transition; while the analog chords, tropical electro design and warm bass taste of Topological Defect are sure bets and your soundtrack to explore lands not seen yet.

The B side manifests the acidic imagination with the lysergic proliferation, late nite synth auras and kick driven electro rhythms of Zero-Width Approximation.

Simply Connected Space arrives next characterized by golden era Chicago House design, sunny ambience, and 707 percussive chase concluding the ep in classic taste.

We are delighted at Analog Concept for you to Experience the class production quality of CCO - Cosmic String.

Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you"ll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. Metallic Life Review features Susan Alcorn"s pedal steel, Owen Gardner"s glockenspiel, Thor Harris" drumming, Jason Willett"s (Half Japanese) guitar, and Jeff Carey"s aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded "live in the studio", ala Throbbing Gristle"s Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live.

The legendary Beatnuts bring the sound of the 90‘s back to the streets -“Street Level”, the iconic debut album, is being reissued and is available in various exclusive formats: a Standard CD, Music Cassette, Black Double Vinyl and a Limited Splatter Double Vinyl.

TWO BONUS TRACKS:
“HELLRAISER“(ORIGINAL VERSION) AND TWO AND “DAWN OF THE DEAD“
Old school flavor, Latin vibes & sample magic - that‘s the unmistakable Beatnuts sound.
With classics such as “Props Over Here”, and With and “Hit Me with That” the Queens duo made hip-hop history.

Modi: Three Days on the Wing of Madness is a 2024 biographical drama based on the life of renowned Italian artist Amedeo Modigliani.
Directed by Johnny Depp, the film stars Riccardo Scamarcio in the title role, with supporting performances by Stephen Graham,
Al Pacino, and Antonia Desplat. The film’s original soundtrack plays a pivotal role, blending evocative original compositions by The Tiger Lillies
with classic tracks from artists such as Charles Trenet, Augie March, Tom Waits, and The Velvet Underground & Nico.
The soundtrack is available as a deluxe 2LP vinyl set in a gatefold sleeve with imagery from the film
And as a 2CD Box Set with lift-off lid, featuring a 24-page booklet including exclusive notes from Johnny Depp and behind-the-scenes images

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

Gesloten Cirkel is back with a blistering new 4-track release. Known for his uncompromising sound, he dives effortlessly into stroboscopic acid with the title track and the ruthless "Heisinprison," while delivering near-tearjerking industrialized house with the summer-tinged jams "F-unkz3" and "Breaking The Lamp." The Acid Puke EP oozes equal parts dystopian rave energy and twisted melodic bliss. This is Gesloten Cirkel at his most focused and feral.

A Walking Contradiction resurfaces with a new release by their friend & collaborator Katatonic Silentio, channeling a collection of tracks submerged in echoes and pressure-shaped pulses. AWC011 traces fluid architectures built from delay, decay, and deep resonance--each composition unfolding like sediment in motion. Sounds sway with tidal pull, suspended in chambers where space thickens and time refracts. Basslines emerge like sonar beneath shifting layers, while percussive elements flicker at the edges, softened by current and drag. Elastic and disorientated, these underwater constructions are tuned to the language of depth and dissolution.

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

Parallax explores the shifting boundary between human intuition and algorithmic logic, a space where two perspectives converge and blur until the center is lost. Composed through a hybrid system of voltage-controlled hardware and digital manipulation, the five tracks apply FM synthesis, granular processing, and bit-level degradation to rigid electro structures. Sequences are shaped by modulation instability and clock drift, gradually disrupting pattern integrity and simulating a loss of systemic control. Precise yet disrupted grooves hint at a deeper malfunction, as if something is corrupting the system from within. Parallax is the gap between the human who creates and the algorithm that imitates.

NYC house legend Joaquin “Joe” Claussell steps up for a fantastic remix of Arp Frique’s 'Save Your Soul' taken from the recent album “The Gospel Of Jesamy”. Support from Floating Points, Palms Trax, Antal and Hunee amongst others. Big TIP!

Sticking to the gospel roots, the 'Sacred Rhythm Praise Version' opens with an organ and piano solo before the iconic "Claussell drums" kick in followed by additional disco strings. Powerful vocals provided by Rocq-E Harrell, Muriel Blijd and Brandon Delagraentiss whilst Arp Frique’s instrumentation glues the whole track together.

Remix on the A-side and original mix on the B-side, pressed at 45RPM.

Meet Dr. Brown, a world-renowned astrophysicist who arrives with a ten-pound bag of gummy bears and a DVD box set of a reality show about competitive dog grooming. Before she loses herself in the flamboyant world of puffed poodles and outrageous hairdos, she organizes the gummies by color...

Judge White, on the other hand, unboxes a newly released LEGO set. But he isn't building a replica of the Supreme Court; he is constructing a bright pink, glitter-covered unicorn palace.

Opera singer Miss Black... growls along at the top of her lungs to Chesney Hawkes' "The One and Only", standing on a chair in a red-and-white striped bikini, using nunchucks as a microphone.

And finally, Mister Red, the MIT professor, known for his ironclad logic and severe demeanor, brings a collection of classic comic books. He isn't interested in modern, gritty superhero stories. His joy comes from the simplistic, colorful tales of superheroes with outlandish names like bqdp and ridiculous powers like the ability to selectively negate gravity for objects weighing exactly 13.37 kilograms (but only when standing in moonlight).

They are all members of a club where the rules are simple: no judgment, no professionalism, and no apologies. They understand that the most infamous guilty pleasures aren't those that are truly bad, but those that remind us that we are all, at our core, just human - finding joy in the simplest, most wonderful things, no matter how silly they may seem.

pdqb and DMX Krew gift you with six minutes of pure, unadulterated pleasure. You'll feel like you're locked inside an 80s mall with your best friend, free to do whatever you want. And you'll never want to leave.

Braiden, an artist synonymous with the UK’s underground continuum, makes a powerful return after his hiatus with Raindance, a four-track EP of original productions on his own Off Out imprint. First emerging during the post-dubstep era with standout releases on Joy Orbison’s Doldrums and iconic Dutch imprint Rush Hour, Braiden carved a unique path as both DJ and producer through long-standing residencies on Rinse FM and NTS, where his boundary-pushing selections became essential listening.

The record channels the energy of the club and the scene he emerged from, blending freshly explored influences into a focused yet diverse body of work.

The EP opens with its title track, an unruly and visceral cut that channels early grime’s skeletal power into a hypnotic techno landscape. Clattering claps, cascading strings and a guttural bassline drive it forward, shimmering with movement and wired with an unpredictable edge. Touch The Sky, featuring a vocal contribution from multidisciplinary artist KESH, follows as a meditative centrepiece — a weightless, emotional interlude hovering with restrained melancholy and awe. X5x ramps up the energy again, urgent, euphoric, and devastatingly effective, its acid-licked synth line and thunderous kicks recalling the vastness of late-night warehouse catharsis. Lagrangian Point closes the EP on a different axis altogether; a time-dilating drone that strips away the percussion entirely while retaining the physicality and ethereal tone that runs through the EP.

Also a visual artist and photographer, Braiden’s finely tuned aesthetic runs through the record, with him self-designing and photographing the artwork printed on a full colour sleeve. Raindance arrives as a meticulously crafted statement: fierce and cinematic, a notable evolution from his earlier single-led releases, with additional mix engineering support from friends Joy Orbison and Objekt.


b A2. Touch The Sky ft. KESH

Repress

The journey continues... Clone Records continue with the re-issue series of the early catalogue of one of the most groundbreaking and influential techno acts ever... Raw, uncompromising music made with soul and creativity that has always been the trademark of Drexciya. This is the 4th release in the series and contains arguably some of their rarest and most astonishing tracks such as Black Sea, Mantaray, Hydro Cubes and Depressurization.
Design and layout by Klen.
Mastered by Alden Tyrell.

A cafe in Paris, a cocktail lounge in Palm Springs, a beachside bar in Rio De Janeiro, a lokanta in Istanbul. Jill Barber’s French repertoire is played around the world and has earned her a following that transcends language barriers. Her music has become the soundtrack to an experience. It is a surprising achievement for an anglophone artist who only began her affair with the French language in her late twenties, following a moment during the Montreal Jazz Festival, where she sang a few notes of French to an enraptured crowd. Inspired by their reaction, Jill enrolled herself in an immersive French school in the South of France, eventually emerging with her own recordings of the songs and poets that inspired her most: Piaf, Gainsbourg, Aznavour. The album "Chansons" was released in 2013 and has since become Jill's most globally successful record to date, having been streamed over 120 million times - with more than 35 million listens in the past year alone. A full decade later, Jill has reunited with Grammy Award-nominated producer Drew Jurecka and the musicians that accompanied her on "Chansons" to produce "ENCORE!", its long-awaited sequel. "ENCORE!" is a delightfully arranged and lushly orchestrated album, featuring all new interpretations of classic songs by Edith Piaf, Charles Trenet, Blossom Dearie, Django Reinhardt, Robert Charlebois, Josephine Baker, and Barbara. “For me, singing in French is an embodied, sensual experience… it’s a new language in which to explore and express myself artistically- and be vulnerable.” The French have a saying for a particularly pleasurable sensation that is so unique, it’s difficult to put into words- when Jill Barber sings in French, there is a pleasing quality, a “Je ne sais quoi” that is hard to describe, but easy to enjoy. And now she’s done it again - ENCORE!

Yosuke Yamashita, Itaru Oki, Yuji Ohno, and Kimiko Kasai. An astonishing jazz workshop with a never-before-seen encounter. Japanese jazz was so sharp and original.

Yosuke Yamashita Trio, Itaru Oki Trio, Yuji Ohno Trio, and Kimiko Kasai. Three trios and one vocalist, Trio by Trio Plus One. This is a live recording of a jazz workshop held in 1970, and the original was released as part of Victor's "Japanese Jazz" series. Just looking at the lineup of musicians gives off an extraordinary atmosphere, making this a special work.

Yamashita was a leading figure in the scene as the darling of the times. Oki came to Tokyo from Osaka in the mid-1960s and attracted attention. Ohno was a man of supple musicality who played everything from modern jazz to new jazz. And Kasai is just about to blossom. Needless to say, each performance is powerful and fascinating, but this album also features a performance by a unique seven-person group consisting of the Oki Trio, Ohno Trio, and Kasai. This is a two-disc set of super-class that reminds us once again just how original Japanese jazz was.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY

The latest boy band in town, POP VAMPIRES COLOGNE, opens the party with the enigmatic ‘Karianne’. SUPERPITCHER knows how to make a grand appearance, accompanied by high-calibre guests. His electro-pop treat ‘Pandora’s Box’ features Hot Chip’s ALEXIS TAYLOR​ on vocals.​ JÜRGEN PAAPE isn’t coming alone either, but with newcomer HELLA in tow. ‘Grace (A Tale)‘ once again shows our resident hit maker at his best. JÖRG BURGER also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. REINHARD VOIGT points out that money never sleeps and proceeds according to the motto: ’​Zahl an einem anderen Tag (Pay another day​)’. Our Brazilian whirlwind GUI BORATTO returns after a long absence with the banger ‘Panorama X-Press’. After careful consideration, ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time. WASSERMANN contributes an ultra-fat remix of Mayer’s ‘Brainwave Technology’, while MICHAEL MAYER himself marvels at the rare ‘Erdbeermond’. HARDT ANTOINE’s ‘Let Me Go’ really gets the party going again before WASSERMANN orders a large taxi and skips out on the bill.

See you again next year!

TOTAL 25… Schon wieder ein Jubiläum in einem an Jubiläen ohnehin nicht armen Jahr. Zum 25. mal versammelt sich die Kompakt Familie zum alljährlichen Stelldichein. Ohren angelegt, los geht’s!
Die neueste Boygroup in town, POP VAMPIRES COLOGNE eröffnet die Party mit dem enigmatischen ‘Karianne’. SUPERPITCHER weiss, wie man einen großen Auftritt hinlegt, und zwar in hochkarätiger Begleitung. Sein Elektropop-Leckerbissen ’Pandora’s Box’ featured Hot Chip’s ALEXIS TAYLOR an den Vocals. Auch JÜRGEN PAAPE kommt nicht allein, sondern mit der Neukommerin HELLA im Schlepptau. ‘Grace (A Tale)’ zeigt unseren Haus- und Hitlieferanten mal wieder in Bestform. JÖRG BURGER hat ebenfalls eine Tischdame im Gepäck, die überaus talentierte Irene Kalisvaart, und remixed sich obendrein selbst. REINHARD VOIGT gibt zu Bedenken, dass Geld niemals schläft und verfährt nach dem Motto: ‘Zahl an einem anderen Tag’. Unser brasilianischer Wirbelwind GUI BORATTO meldet sich nach längerer Abstinenz mit dem Banger ‘Panorama X-Press’ zurück. ROBAG WRUHME hat seinen neuen Track nach reiflicher Überlegung ‘Total’ genannt und singt darauf erstmals selbst im Chor mit seiner Familie. Der WASSERMANN steuert einen ultrafetten Remix von Mayers ‘Brainwave Technology’ bei, während MICHAEL MAYER selbst den seltenen ‘Erdbeermond’ bestaunt. HARDT ANTOINE’s ‘Let Me Go’ bringt die Party nochmal so richtig in Schwung, bevor der WASSERMANN ein Großraumtaxi bestellt und die Zeche prellt.

Wir sehen uns wieder im nächsten Jahr!

Forgotten Paradise is a new vinyl series from Western Lore, focussed on exploring the full breakbeat hardcore &
Jungle Tekno tempo range through a collection of 12” singles & EPs

After an under the radar, vinyl only bootleg 12” kicked off the series in 2024 (and flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail), L own, the producer behind the record returns to the series for the first of a two part long player showcasing the depths of his sound.

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos.

Sublunar is thrilled to announce its next release: Kashpitzky's powerful new EP, Steampunk.
Affiliated with esteemed labels such as Blueprint, Be As One, and Token, Kashpitzky proves once again why he is one of the most exciting artists in today's techno landscape. With Steampunk, he delivers a set of tracks that showcase not only his signature sound design and unique energy, but also his ability to craft music that feels timeless.

The journey opens with Aborted, where intricate grooves and striking sound design merge into a truly distinctive piece, setting the tone for the record. Erath follows with a muscular and driving character, powered by a vocal that drops at key moments to amplify its raw energy.

On the flip side, Steampunk offers a minimal yet highly effective groove, a versatile track built to work in any context. Code 2 pushes deeper into hypnotic territory a perfect fusion of modern textures and classic sensibilities that leaves a lasting impression.

Closing the record is Last Day On Earth, an evocative outro where vocals and sounds echoing another era bring the journey to a haunting and memorable conclusion.

"Hayden James is an LA-based Australian producer and DJ who makes electronic music that speaks to a wide range of audiences. From late night clubs to festival main stages, from sunrise to sunset, Hayden's music has soundtracked moments with friends around the world for the past decade.
It took award-winning music producer Hayden James one song to become a sound of the Australian summer. ‘Something About You’, released in the heat of December 2014 by Future Classic, lit up the pop music scene and gained Gold Certification in Australia. Today the artist’s electronic pop music has hooked a global audience on his sound, with a collection that has amassed over half a billion streams."

In 1982, the elite, core musicians (MFSB / The Salsoul Orchestra) behind the soulful Sound of Philadelphia - Earl Young (drums), Ron Baker (bass), Norman Harris (guitar), Lenny Pakula (organ), Larry Washington (percussion), Vince Montana, Jr. (vibes) - and powerhouse vocalists Joe Freeman, David Simmons, Ron Tyson and Bobby Love convened at Philadelphia’s historic Virtue Studios to record some of the genre’s most iconic hits. This small, but amazing set of lush recordings, which were mixed at Alpha Studios - ensuring that every note and nuance was captured with the highest fidelity, recently caught the attention of the famed producer and remixer Eric Kupper. Kupper got his start working as a keyboardist and guitarist for such producer/remixers as David Morales, Arthur Baker, Frankie Knuckles, Peterauhofer, and Richie Jones, just to name a few. Since 1986, he has played on, remixed, and/or produced over 1400 records for artists spanning all contemporary musical genres. Presented here is Kupper stellar remix of “Back Stabbers” which features Freeman’s impassioned lead vocals. This release is not just a tribute to the past, but a vibrant continuation of the legacy

Karol G, is a Colombian singer. Considered as one of the most influential reggaeton and urban pop artists, she has received awards including a Grammy, six Latin Grammy Awards and five Billboard Music Awards. She was recognized as Woman of the Year and with a Rulebreaker Award at Billboard Women in Music, with the Spirit of Hope Award at the Billboard Latin Music Awards.

If you asked KAROL G, “What would the album that best represents your Latin community sound like?” — she’d answer with her fifth studio album, TROPICOQUETA.

Since the 1940s, Library Music has lurked in the shadows, peripherally touching our lives through TV and film. Among the stalwarts of the industry was UK's Studio G, with cues heard on Doctor Who, and sampled by the likes of The Chemical Brothers, and Tyler, the Creator. Jazz Dispensary's Dream a Dream with Studio G: Cratedigger's Archive (1970–2009) culls some of their most sought-after cuts, with liner note commentary from Saint Etienne’s Bob Stanley, and illustrations by Ivan Minsloff.

»What about Love« is MONKyMAN's personal journey through solitude, love and connection: An honest, heart-driven record exploring spirit, romance and community in a chaotic world.

Written over the course of three years and recorded live on analog gear only with no loops or plugins, the album blends warmth, vulnerability, and a message of hope. Produced with Drew Deal at Sundown Studios with guests from all over the planet, it invites you into a space of reflection, belonging and joy.

Genre-defying and soul-centered, the album unites meditative moments and heavy grooves, moving from the question »What about love?« to the simple realization: »I feel better in love.«
Downloads

a long-awaited reissue of an ultra-rare 7-inch single, originally released as a promo-only item from handsome boy, the 1990 masterpiece by inoue yosui—widely regarded as one of the greatest singer-songwriters in japanese music history.

“pi po pa,” arranged by haruomi hosono and used in a tv commercial at the time, was featured on heisei no oto, a compilation released by music from memory. the album’s standout track, “shonen jidai,” remains one of japan’s most iconic and beloved songs.
also included on this 7-inch is “yume migokochi,” a pinnacle of japanese balearic sound, arranged by yuji kawashima—keyboardist of ep-4, a kyoto-based band essential to the history of japanese new wave.

and exclusive to this release is “kurenai suberi,” an overlooked gem that might best be described as inoue’s take on cold-funk.

remastered from the original master tapes by kuniyuki takahashi, and housed in the ori-ginal artwork.

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Swiss shapeshifter Elsa surfaces on Punctuality for the first time, marking the label’s seventh release with a debut EP that dives deep and swims sideways through an eclectic milieu of club influences.

Across the five tracks on Web Glow, there are nods to turn-of-the-century tech house, liquid D&B, broken IDM, psy-laced trance, and modern tek mutations. Subtle wubs ripple under the surface, low-end pressure coils tight, and meticulous sound design binds the tracks into a fully realized vision of Elsa’s forward-thinking sound. Enter the unfolding.

Roza Terenzi steps up to remix “Web Glow,” reanimating the track as a skeletal early-morning stepper—the mood is giving sizzling dubbed-out vocal wisps, pulsing subs, and stripped-back drums. “Groupie” notches up the BPM but keeps things fluid with aquatic atmospherix, jittering FX, and drums that skid out and under rolling basslines.

“Fortune Cookie” flashes uk-tinged tech house with shimmering shards of SFX, resplendent with stuttering kicks, glassy pads, and sultry textures. The halftime jungle-IDM stylings of “No Ads” round off the EP in a haze of fractured breaks and dubbed-out atmospherics. A murky, magnetic debut on Punctuality—Elsa sketches out a soundworld all her own. Dive in and catch it.

Two new Moxy Edits — bass-heavy, floor-ready, summer certified.

DJ support: Michael Bibi, Solomun, ANOTR and more
Rising duo Moontalk step into the spotlight on Planet X with ‘Hot Line 84’, a track that channels tightly wound grooves, warped guitar licks and infectious vocal touches into a rolling dancefloor cut. Built with a sharp focus on rhythm and texture, the single captures the duo’s forward-thinking approach and delivers a fresh statement of intent on one of the underground’s most closely watched labels.

Planet X head Ben Sterling completes the release with his own reinterpretation, steering ‘Hot Line 84’ into darker, hypnotic territory. Crafted live using various guitars and analogue synths, Sterling’s remix brims with raw energy, tunnelling its way through Indie Dance textures while retaining the future-facing edge of the original. A track already championed by the likes of Michael Bibi, Solomun, ANOTR and more, it’s another bold showcase of Sterling’s versatility as both a producer and label curator — and a reminder of Planet X’s commitment to cutting-edge, cross-genre sound.

Together, the original and remix strike a balance between groove-driven immediacy and late-night depth, capturing two distinct yet complementary sides of the Planet X universe. ‘Hot Line 84’ stands as a compelling snapshot of where the label is heading next: innovative, immersive and firmly in tune with the dancefloor.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

DJ Support: Kenny Dope, Mark Knight, Riva Starr, The Shapeshifters, Tedd Patterson, Hector Romero, Grant Nelson, Brian Tappert, Kevin Yost, Saison, Ron Carroll, Steve Bug, The Cube Guys, Massimino Lippoli.

Get yourself geared up for summer season with some fierce dancefloor prime time certified with the Groove Culture Deep Stamp. DEEP INTO HOUSE vol.3 includes some fresh House/Deephouse actions from Ricky Montanari & Discoplex, Luca Olivotto, Gianni Bini and Andrea Tomei. An essential package for diggers.

This 4-track EP showcases Robot84’s eclectic and diverse taste in editing, as well as his unique skill in finding those somewhat forgotten underground nuggets and expertly reimagining them. From the classic ’80s sound of FGTH to jazz-infused reworks of Public Enemy and Angie Stone, and the disco fuel of The Supremes, Robot Edits Vol. 1 sets the tone for a series made with serious selectors in mind.

Hard Times welcomes back Alex Arnout and his BLACK LOGIC project, following their recent ‘Pull Up’ EP with a second installment of new music from collective - The Illusions EP.

Hailing from West Yorkshire, Arnout spent his formative years on the Hard Times dancefloors, absorbing the beats and vibes that would later shape his own productions. His journey with the label reignited when he was invited to remix Michael Watford’s classic 'Love Change Over' and Steve Silk Hurley’s fresh hit 'All I Need'. Now, he returns with something truly special.

“Black Logic was born out of the pandemic,” says Arnout. “I wanted to move away from drum machines and synths, getting back to sampling jazz and the deep house sounds of the ‘90s - taking inspiration from artists like Bugs in the Attic, Jazzanova, and Ernest Saint Laurent.”

What began as a solo project soon evolved into a collective effort. Bassist and guitarist Alan Riggs, a former member of Delta 5, joined the sessions, bringing warmth and groove to the productions. Vocalists Tempo O’Neil, Anthony Beckford, Mariana Orsho, and Sophie Barker added their distinct voices, completing the vision

Across four tracks, The Illusions EP pulls us deeper into Black Logic’s rich, live-wired universe. The title track pairs Tempo O’Neil’s vocal with a grooving, low-slung bassline, whilst “Dusty” drifts in on brushed snares and ghostly Rhodes, its saxophone lines curling through the mix like smoke. “Chasing Daze,” analog synth shimmer and Tempo’s velvet tones, is a track suspended between head-nod groove and astral lift.

The curtain falls with “Disco Down,” a jubilant ensemble of Hammond organ, flute, guitar, bongos, and horns locking into joyous conversation.

KinAhau returns to Crosstown Rebels with expansive new single ‘Under the Flowerpot’, featuring Luke Cusato. Backed by a cosmic, synth-driven remix from Perel, the release lands on the label. After debuting on the label with his remix of Airrica’s ‘Hi Speed Lover’ last year, surging wonderkid KinAhau steps forward with his first full solo release for Crosstown Rebels. ‘Under the Flowerpot’ captures a moment of raw honesty and transition for the young Mexican artist, revealing a more expansive, song-led direction in collaboration with UK vocalist Luke Cusato.

The single was born during a turbulent period, written in the wake of a panic attack shortly after relocating to Rome. That sense of fragility and release runs through the record, pairing Cusato’s stirring topline with KinAhau’s widescreen production to create a cut that blurs the lines between club energy and confessional songwriting. For the remix, Damian Lazarus welcomes Perel to Crosstown Rebels. A unique voice within the electronic landscape, crafting her own lane with a genre-blurring approach, her remix is chugging, synth-led, and infused with a signature retro-futurist touch, channeling cosmic energy and slow-burning tension for dancefloors that like things deep and driving.Now 22, KinAhau’s journey has already taken him from handing Solid Grooves founder Michael Bibi a USB disguised as a trash collector to playing at DC10, Fabric, Space Miami and Mayan Warrior. His breakthrough collaboration ‘Different Side’ with Bibi and Audio Bullys carried his name onto global stages, while his 2024 mixtape comprised of old demos, drafts and edits revealed a more confessional, unfiltered edge to his sound. Yet ‘Under the Flowerpot’ feels like a deeper statement, one rooted not in hype but in self-exploration.

Followed by the first release last year Chinese label Motivation, curated by B.ai, comes back with its second V.A. featuring Ilkay Yeler, J6, SMEV and NAE. The vinyl attributes in progressive house, electro house and electro.

Opening track “Destiny” ‘s morphing main motif gets kept in check by a steady pulse of snappy bass. Enigmatical vocal samples add to the ambiguous atmosphere, so the sets of twinkling mallets J6 sleekly includes, bring a touch of subtle lightness.

A-2 Ilkay Yeler’s sound is fueled by endless nights of groove, and on “Frontliner” this translates to a hypnotic trip into the deep end. Underneath its dreamlike current of silky chords a steady bass riff propels everything forward, allowing a restless arp to zone in and out.

Flipping to the side B, Sev’s Miami-inspired 808 patterns have “Clearing The Fog” come out of the gates swinging. Bright flutes and big basslines provide this slab of machine funk with a tapestry of melody, and fluorescent synth solos top it off.

Nay ends affairs on a melancholic note with “Silent River”. The leads sound like they ran through an eighties wave pedal chain, and as pondering chords and choirs work their way in, a Juno 6 bass adds extra depth. Still firmly directed at the club, the track escapes easy classification - and suitably closes a diverse yet coherent EP.

Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’.

Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove.

‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

Tom Rowlands will play a rare solo DJ set at Glastonbury's Stonebridge Bar on Friday 27th June, as part of Bugged Out's 30th Anniversary celebrations.

With Liquid Body, Matteo Point makes his debut on Incoherent Debts with an EP that combines raw energy and emotional intensity. Hypnotic basslines, magnetic vocal samples and driving grooves shape five tracks suspended between the dancefloor and inner reflection, revealing a sound that is both physical and deeply emotive.

From house and hip hop to liquid drum & bass, Sina Hill’s second vinyl embodies a raw yet uplifting energy—closing out the summer with a radiant pulse.

Several years after a 12” for the Unrelatable imprint, Marco Passarani opens a new chapter with F.F.O.M., a work of extra-terrestrial tales that feel grounded, where the hard, dirty work of the people continues on a different planet. The scenery changes, but the story stays the same: broken dreams on arid ground.

Linking back to his early Nature Records releases, Passarani blends experimentation with an unshakable sense of groove, weaving a more abstract narrative without losing the dancefloor pulse. While distinct from his Studiomaster output, the project shares the same DNA, fusing digital and analog textures until the boundaries dissolve.

True to the raw spirit of pure techno and imbued with the unmistakable nuances of the Roman school, F.F.O.M. is both a nod to the past and a step into uncharted territory, where Martian dust meets earthly sweat.

Each track paints a fragment of this imagined frontier: Tales Of Truth reveals shadowy landscapes hiding the real nature of the so-called new promised land; Alone in the Depth drifts through liquid scenery, a classic TR-808 pulsing deep beneath unknown oceans; Clouded Shore distills the numeric essence of groove in a subtle nod to Kraftwerk; Dominion erupts into the fierce struggle for supremacy over the new territories; Passione Orbitale tells of love for the unknown and voyages toward otherworldly sunsets; Exploration Noises echoes the spirit of Ixora from Passarani’s first Nature Records release, with manic, melancholic SH-101 lines riding electro rhythms.

The digital edition includes two exclusive miniatures, fleeting transmissions from the edge of this Martian settlement.

2025 Repress
Early support from Abstract Division, Felix Lorusso, Exium, Iori, o.utlier, Brando Lupi, Forest on Stasys, Joachim Spieth, Psyk, Svarog, Toki Fuko, Zemog and Luigi Tozzi.

Among the true Keiji Haino devotees, Nijiumu’s Era of Sad Wings (released on P.S.F. in 1993) has always held a special place in the pantheon. Operating for only a few years in the early 90s and apparently only performing a handful of shows, Nijiumu operated at the opposite end of the dynamic spectrum to Haino’s famed power trio Fushitsusha, dwelling in a hushed, meditative realm of mysterious droning sonorities and free-floating melodies that occasionally erupts into violence. Black Truffle is pleased to announce a new double-LP edition of a lesser-known 1994 Nijiumu recording, When I sing, I slip into the microphone. Into that void, I bring comrade “prayers”, then, turning to face the outside, together we explode. Here, Nijiumu is the trio of Haino, Tetuzi Akiyama and the obscure Takashi Matsuoka, the three performing on a wide variety of string, wind and percussion instruments, as well as electric guitar and bass, and Haino’s unmistakeable voice.

Like on the early solo Haino album that shares the group’s name (released on P.S.F. in 1993), the instrumentation swims in reverb (the use of which Akiyama recalls as ‘a kind of point of the band’), often obscuring the instrumental sources. On the short opening piece, a distant reed instrument arcs long buzzing melodies over a bed of cymbals and gongs, like a psychedelic take on Tibetan music. The epic second part, occupying almost 50 minutes, begins as a splayed, near-formless cloud of electric guitar and bass, shadowed by bowed and plucked strings, the three elements working through twisting atonal shapes. At various points in the recording, we hear what seems to be the sounds of musicians moving between instruments, their shuffling and bumps fitting seamlessly into this radically open music. Eventually, what sounds like electric guitar moves closer to the foreground, fixing on a repeated melodic cell around which hover mysterious clouds of long tones and a sporadic shaker. At the half-hour mark, the music begins to build to a violently emotive climax, Haino’s impassioned vocal cries punctuating a lumbering, bass-heavy murk, contrasted at points by what sounds like a tin whistle. Suddenly, the volume drops to a near-whisper, opening the way for the stunning final moments, which touch on the slow-motion balladry of Haino’s classic Affection, here given an eccentric twist by an occasional woodblock hit. The third piece opens with a hazy trio of rumbling bass, bowed strings and abstracted slide guitar, the latter calling to mind some of Akiyama’s later solo work. Eventually joined by Haino’s voice, its fragile, haunted tone might remind the listener of the man in black’s documented love of the madrigals of the murderous Count Gesualdo, before the recording abruptly breaks off mid-note. In this new edition, the Nijiumu trio recording is supplemented by a piece recorded solo by Haino in 1973, a bracing electronic blowout stretching almost half an hour. Using a homemade electronics setup to unleash a barrage of crunching distortion and shuddering harmonic fuzz, it takes its place in the canon of extreme live electronics next to Robert Ashley’s Wolfman and Walter Marchetti’s Osmanthus fragrans, looking forward to extreme noise years before Merzbow. Taken as a whole, these four sides of music are a stunning document of some of the lesser-known waystations of Haino’s singular creative path.

Modified Highspeed BMW Configurations

SUPERB Taciturne EP ! A legend is back with a thinlace kicker spirit tending to become a grey aera for speedcore ? Or Speed-Doom Sound ? A mental indus Spitfire ?
BIG !

Mellow Man’s Central Park EP is back in full effect, delivering three deep house gems packed with swing, soul, and that unmistakable underground feel.

A01 – Central Park
Deep basslines, thick chords, and that extreme swing that gets your whole body moving. Gentle pads drift through the mix like morning mist—this track rises like the sun over NYC’s green heart.

B01 – Something Divine
Upbeat and funky, with a bouncy bassline and gliding chords that melt in your mind—not in your hands. A touch of classic house, a splash of 80s soul—good to you, sweet to you.

B02 – Gotta Be Free
Bone-dry kicks and dusty NYC swing meet hypnotic deep house energy. Soulful vocal cuts and that signature CLUB U NITE grit—this one’s a stomper. Pure dopeness.

Deep isn’t just a sound—it’s a state of mind.

From The Vaults Vol.1" on 8bit Records brings together four standout tracks that highlight the label's deep and groovy house sound.
With two solo cuts by the label head Gorge and collaborations featuring André Hommen and DÉ SAINT.
This release also marks the long-awaited return of 8bit Records to vinyl.

Kyntral is a co-founder of the so-far so-sophisticated Argentinian label Danza Nativa, and he serves up a deeply immersive trip here. 'Inner Depths' is liquid deep techno in the mould of Neel or Donato Dozzy. Percolating rhythms and dubby undercurrents subsume mind and body while deft little details place you underwater. 'Bloodstone' is a little more lumpy with a gentle smattering of percussion of drums that bump. 'Ancient Apparition' is a spacious sound with wispy pads disappearing to infinity, glassy tinkles and undulating drums all getting you into a meditative state. The Patrick Russell Phantom remix is more warped and dark to add a nice counterpoint.

Manchester-based Aiden Francis is at the forefront of the current prog house sound. His new EP cements that position with four more immersive club cuts doused in melody and subtle euphoria as well as hints of old school rave. 'Circuit Kween' is a punch one to start the harks back to classic Sasha & Digweed, 'Kompackt' hits its stride with an urgent low end and snappy finger clicks, 'Twizted' has a warped baseline and dark energy and 'Hex Klub' shuts down with more zoned out and trance infused feels with plenty of colour.

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

Classonix are back with another red-hot delivery of smart edits designed for maximum club impact. 'Lilith' marries deep house beats and dreamy roads with exotic international vocals that lend it plenty of spice. 'Coute' is a UK street soul and Afro disco collision with 80s pads that shine bright. 'Hala Hala' is another international delight with summer-ready vocals and an old-school bassline that never quits. 'Shabakni El Hawa' classes out with candied disco-pop and hypnotic vocals over some fresh synth work. A colourful package of sure-fire winners.

Nigerian-born, London-based singer, songwriter, musician and producer Steven Bamidele presents his keenly anticipated sophomore album, 'THE CRASH!' – a sonically rich exploration of purpose, doubt and personal reckoning. Written against the backdrop of an ever-changing world, the album combines soul, rock, jazz, acoustic and electronic textures, along with daydream-esque storytelling for a thought-provoking journey in pursuit of something real in an age of hyper-curation and superficiality.
At its core, 'THE CRASH!' is a soulful meditation on the weight we place on relationships, the fundamental cost of growth, and the search for direction in an imperfect world. It's a deeply personal project, shaped by Steven's own journey through faith, disillusionment and self-discovery. Raised in a strictly Christian household, Steven's first crisis of belief came at 17, when he began questioning the very foundations of existence. As his faith unravelled, music became his new guiding force – a source of direction, discipline and identity. But as he turned 30, disillusionment crept in once again. The stark realities of the music industry, coupled with global uncertainty, reignited that same despondent weight he had battled in his youth.
"It was an intoxicating feeling when I was younger and had no responsibilities, to foolishly believe I was the first person in history who'd worked something out that no one else had. It gave me this twisted sense of power and was a big creative motivator. Where I'm at now, nihilism is debilitating, boring and unhelpful. I've worked to find a way to channel those feelings into this project. I'm really proud of it."– Steven Bamidele

After an initial European release in 1976 on the Isadora label Age Of Earth was re-issued on Virgin Records in Summer 1977 and fast became a beacon for electronic music and what was becoming known as ambient - Some cite its very title as helping introduce 'new age' music - This re-issue faithfully replicates the original 1977 Virgin Records release and is pressed on 180g heavyweight vinyl.
Guitarist and synthesiser player Manuel Göttsching formed Ashra after disbanding Ash Ra Tempel, the outfit he had led since 1971. Moving away from the space rock of his previous group, Ashra was a far more electronics-based project. Recorded in Berlin, between March and June 1976, the four pieces on the album represent the very best of what became known as Kosmiche: dreamily repetitive, glancing to the stars while keeping feet firmly on the ground.

New Age Of Earth is a record full of contrasts: the throbbing, techno-predicting Sunrain opens the album; with its waves and crickets sound effects, Ocean Of Tenderness pulses gently like a space-age early Fleetwood Mac; Deep Distance brings elements of surf music into glacial electronica. At 21 minutes long, Nightdust occupies all of the album's second side, a ruminative, slowly unfolding piece that, after its crescendo, gives way to Göttsching's impressively celestial electric guitar solo.

Shining lights in London’s queer electronic underground, prolific duo FAFF make their debut on Phantasy with the ‘A Few Good Days’ EP, featuring three tracks reverberating the smudged euphoria of the capital’s rave scene, both past and present. Drawing equally on peak-time club catharsis and the emotive experimentation of golden-era IDM and electro, these recordings meld the pair’s diverse DJ sets and ambient live work, which has captivated festivals including Draimollen, Field Maneuvers, and Body Movements.

The title track, ‘A Few Good Days, ’ melds hypnotic percussion, snatches of vocal euphoria, and a stuttering break for instant post-rave afterglow. Its wandering but compelling arrangement subtly invokes and updates the pioneering aesthetic of One Dove, Sabres of Paradise, or even William Orbit. The tempo tilts skywards for ‘Tracy’s Night Out’, a peak-time display of FAFF’s studio prowess that fuses choral techno drama with a shamelessly bouncing bassline designed to tear up any respectable sound system. Emerging from the sweat and strobes for a wide-eyed stroll home, ‘Tracy’s Daydream’ wishes away the EP with delicate, textural delight, floating gently on pure analogue reverie.

Mélange is a new community and online platform for young emerging artists based between Europe and Australasia.

The first of the label’s VA compilation album, just released,spans corners of electronic and world music and weavesbetween classical/ambient sounds and UKG, Jungle & Disco. It’s a commitment to multi-genre discographies and the need for more established career paths for young, gifted artists.

With early support on the vinyl from Four Tet and Haai, our goal is to help share and further establish European and Oceanic sounds with music lovers everywhere.

Our second vinyl release comes from within the house. Juan Ferreyra, co-founder of Easy Latino Records, drops his debut EP on the label: I didn’t buy my Dr Märtens.

True to his style, Juan doesn’t take production or himself too seriously — and that playfulness shines through these four tracks. Playful vocals, deep grooves, heavy bass lines and timeless melodies come together in lighthearted, summer-ready cuts made for the dancefloor. Pure fun, no pretension. Run fast, they won’t last.

'Don't Turn Your Back On Me feat. Pauline Taylor' originally featured on US house innovator and Basement Boys co-founder Teddy Douglas's ‘I’m Here’ album in late 2024. It's a true soulful house anthem with funky bass and a glorious vocal that was primed for a A-list remix package. Douglas himself opens up this package with joyous organ chords and soft melodies lighting up the smooth, seductive drums. Swiss DJ and producer Shaka goes next as an artist who has spent decades blending acid, Chicago, and Detroit influences into his own tunes on top labels like Nervous, GooD MooD, and Mister Bear Records. His 12-inch Club version strips things back to go deep and dubby before rebuilding with sunny melodies, expressive organs, and proggy guitar licks that bring joyous energy and real dance floor unity.

Next is NYC DJ Tedd Patterson, a true originator, resident at Ladyfags’ Battle Hymn party and a regular at Horse Meat Disco, Berghain’s Panorama Bar, and Glitterbox, as well as releasing on Strictly Rhythm, Nervous, Defected, and more. His sophisticated remix boasts a warm and bouncy sound, complemented by soulful vocals that lend richness. Then it's seminal NYC favourite Danny Krivit, who is part of the cult Body and Soul crew, is a renowned remixer and editor with hundreds of credits to his name on the most important labels in the scene, and is resident DJ at New York’s legendary 718 Sessions. He draws on his vast experience to edit the original into a playful disco stomper, complete with neat guitar riffs and zippy synths, all bursting with joy as the funky beats roll on and the lush vocals soar to new heights.

London artist CASSIMM returns to Rekids with ‘I’ll Take You There’, landing 26th September 2025. It follows his recent remixes for label boss Radio Slave and his 2024 ‘House of Moves’ EP on the imprint, which won support from the likes of Paul Woolford, Dam Swindle, Hannah Holland, and Laurent Garnier.

CASSIMM’s 'I’ll Take You There' is a chunky House cut with powerful bass and rolling drums, joined by filters which build the vibe while a diva vocal rings out with raw emotion. It's a perfect mix of gritty production and infectious rhythm that lights up the floor with pure underground credentials, while the club mix of ‘I’ll Take You There’ hypnotises with a loopy feel and toughed-up groove.

Over the last decade, CASSIMM has amassed a massive following via a slew of chart-topping releases on labels like Defected, King Street, and Rekids. His best-selling, party-ready, and radio-friendly music earns consistent support across the globe, backed by BBC Radio 1 and artists like Honey Dijon, Nic Fanciulli, and many more.

Berlin-based Japanese DJ and producer Hisashi presents his debut EP on Snapout, The Snapout's Squad Day3 called The Place 2 B. A sonic snapshot of his unique world, the release blends deep grooves, playful textures, and emotive layers that reflect both the dance floor and the introspective moments beyond it. This EP marks Day 3 in the ongoing Snapout’s Squad series — each edition capturing a new chapter in the evolving narrative. Joining him is long-time friend and fellow artist Riku Sugimoto, who contributes a warm and trippy remix, adding his own perspective while staying true to the original spirit. A heartfelt first step, crafted between Berlin nights and nostalgic memories of home.

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Swarm Intelligence, entitled "Radiance". Mastered by Alain Paul and cut by Simon at The Exchange Vinyl. Record Sleeve and labels printed to premium specification, featuring artwork by Kaan Ulgener.

Born in Dublin and now firmly based in Berlin, Simon Hayes aka Swarm Intelligence has cemented his place in the Techno underground with critically acclaimed LPs and EPs on labels such as 47, Instruments of Discipline and Voitax. He returns to Natural Selection, after releasing his track "Generative" on the label's latest VA release; "Natural Selection: Selected Works Vol. 1" in 2024. Featuring amongst an extensive list of heavyweight label affiliates such as SHXCXCHCXSH, Charlton, ASEC, Nørbak, MAEDON, Annie Hall & more. After further connections with the label via live performances at their regular label nights at FOLD London, it was inevitable that Simon would be invited to release a solo EP on their imprint.

His distinctive sound comes from over a decade of releases spanning multiple genres and tempos and oscillates between rhythmic noise, tense atmospherics, uncompromising levels of distortion, and stark, astute beats. This resolutely non-conformist approach to his productions has earned him a reputation as a true trailblazer in the realm of Techno and has led him to perform at some of the world's finest institutions including Berghain, Tresor and Basement NY.

For "Radiance", Swarm intelligence delves further into the sonic unknown, presenting a bold evolution in his uncompromising vision of Techno. Deep, fragmented textures form the backdrop for thunderous, distorted rhythms and IDM-laden drums and percussion, fused with meticulously designed cinematic soundscapes and powerful low-end muscle. Fierce, unrelenting, and deeply conceptual, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with »Steel Wound« he makes a bold statement of intent.

Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003 Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become »Steel Wound«. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold - one that very much reflects the isolation of the environment where the tracks were created.

Each of the pieces on »Steel Wound« is a epic journey, coloured with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time – a forgotten memory beautifully rediscovered in a moment of introspection.

‘BORN LIKE THIS.’ is MF DOOM’s last solo album. Featuring Ghostface Killah, Raekwon and seminal American poet and writer Charles Bukowski with beats from J Dilla, Madlib and ol’ Metal Fingers himself. “I’ve been a fan of Bukowski for a while. It was a friend of mine – damn, I forget the n*gga name – from Life Sucks Die, it’s a graffiti magazine but it’s real kinda edgy, out of Minneapolis. They did an interview with me and then me and Andrew Broder was friends ever since then. He said, ‘Your shit reminds me of this dude Bukowski, you gotta read his stuff.’ I was a little apprehensive at first, ‘cos I was like, ‘What kinda weird shit is this?’ Then he gave me a book, The Most Beautiful Woman In Town, and after that I just got into it. “So for this album, to celebrate all us writers, emcees, if you look at it, it’s a lot of words that we say, and we all write those words: if it was written down on a piece of paper it could be a short story or like a good book. So I saw where Andrew was coming from where he sees the similarities. In tribute to Bukowski I said let me get him as a guest appear ance…” DOOM as quoted in HHC. “Whatever caused DOOM to scale back his output and go off the grid, he’s only come back from it sharper, stronger, and more powerful than before.” Pitchfork “DOOM still has the sickest vocabulary, broadest frame of reference, and densest, most quotable rhymes in hip-hop… he has created an album of sublimely half-assed super-genius.” Onion AV Club

t's time for our main producer Dj Honesty followed this time by a super remix by Ben Vedren

Veronica Electronica, eine acht Tracks umfassende Begleitung zu Ray of Light, wurde ursprünglich 1998 von Madonna als Remix-Album konzipiert. Das Projekt wurde jedoch durch den überwältigenden Erfolg des Original-Albums und die zahlreichen Hit-Singles, die über ein Jahr lang im Fokus des Interesses standen, zurückgestellt. Ray of Light verkaufte sich weltweit über 16 Millionen Mal und brachte Madonna vier GRAMMY® Awards ein, darunter den für das beste Pop-Album.

Mehr als 25 Jahre später wird dieses lange kolportierte Konzept nun endlich Wirklichkeit. Die Sammlung enthält neu bearbeitete Versionen von Club-Remixen von Sasha, BT und Victor Calderone, zusammen mit dem Original-Demo von „Gone, Gone, Gone“ – einer bisher unveröffentlichten Aufnahme, produziert von Madonna und Rick Nowels. Veronica Electronica erscheint am 25. Juli als limitiertes Silver Vinyl und digital, und ist eine weitere hochwertige Ergänzung zu Madonnas Silver Collection.