Cerca:success

Manaccan ep is a blend of dub and Detroit techno tracks.

Merv (Denmark) are known for their dubby Basic Channel like sound. Elevation is a natural successor to the timeless classic 'Dust'.

Ohm (Denmark) and Octal Industries (Estonia) have been industry stalwarts for decades. Their experience is evident in the BS1818 debut track 'Journey': a functional track in the Scandinavian dub techno style.

Kuba Sojka (Poland) is back on Boomstraat 1818 with a remastered version of 'Rain', which was originally released on Rohs! The track deserved a vinyl release and Kuba rebuilt the track from scratch.

Stroef (Netherlands) his track 'Boxed In' was originally released on OHM Series Digital. This version is reconstructed for the vinyl release on Boomstraat 1818.

The Voodoo Universe is now complete! The masterpiece combining the Trilogy 1-3 will be released on November 27th and is a magnificent work show of the multifaceted genius.

Concerts by successful musicians often have an air of church-mass: Fans pay homage to their idols, hailing them, giving the impression of following them blindly. Parov Stelar, a globally successful musician from Austria, is one such artist. Is this art of seduction a kind of Voodoo, Black Magic even? Who can tell? It makes no difference whatsoever, as to his fans Parov Stelar easily passes as a High-Priest of grooves that perfectly understands how to put them in ecstasy.

In Voodoo, Bondieu, a higher being communicates to the masses through priests called Loas. Parov Stelar manages to do so with his music. Voodoo Sonic was born and delivered with the idea to replace the conventional album with several EPs, allowing greater musical freedom and the possibility to explore the many sonic landscapes of Voodoo Sonic.

Now the Voodoo Sonic Universe is complete and celebrated with all three parts combined into one ultimate and highly demanded package. It's a Parov Stelar work show which makes it possible to enjoy his diverse sound world in all of its facets.

The Artwork for Voodoo Sonic was designed and painted by Parov Stelar himself. From the art studio to the recording studio, on to the dance floor in the form of art and beats. Parov Stelar is an all in one king of art.

The icing on the cake is the Voodoo Sonic documentary, which can be seen on all Parov Stelar channels available. (coming September 2020).

If you want to see Parov Stelar live, you will get the chance in summer 2021 at festivals in many countries following by a headliner tour across Europe towards the end of the year.

Celestial Echo returns with a proper UK soul classic — The Cool-Notes “I Forgot How To Love You”, back on 12” and cut loud for the dancefloor.

Hailing from South London, The Cool-Notes were one of the UK’s most consistent soul outfits through the late ’70s and ’80s. While many know them for their chart successes later in the decade, this early period shows the band in a formative state — warm basslines, tight rhythm section, rich harmonies and that unmistakable Britfunk feel.

“I Forgot How To Love You” is one of those records that’s quietly done the rounds for years. A favourite of Frederika’s back in the day, it’s about time it has it’s first ever reissue.

Presented on 12” in a clean company sleeve, this edition gives the record a new lease of life.

Celestial Echo is here to put proper soul records back into circulation — Buy or Cry

Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Karman Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape.

The moods of the album are varied yet share a sense of reverence and exploration. On Karmen Cantala and All Is Chip’s flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. Low Orbit takes things in a funkier direction, arrangements with Steve Parry’s horn (including the unusual instrumentation of bassoon, French horn and tuba) channelling 1970s Quincy Jones and the loping swagger of Archie Shepp’s Mama Too Tight. The Celestial Matari and Molecules recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane’s masterpiece The Elements, and Earthly Elements gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef’s Psychicemotus and Roland Kirk’s Blacknuss.

"HOPES AND DREAMS - Rare & Unreleased Psych-Soul Nuggets from the 1970s" marks the beginning of a new journey of discovery through the music history of the 1970s, which we hope will be just as successful as its predecessor, PRAISE POEMS. Curated by label headman & DJ Tobias Kirmayer.

After the massive success of Vol 1 Boogie Down Edits are back with Vol 2 keeping the same winning formula with another group of Hip Hop legends ATCQ. re-inventing some of their best-loved hip-hop cuts as party-starting house jams. Wisely, they've chosen to retain many of the key musical ingredients of their source material, subtly shifting the grooves to aid slick mixing and peak-time joy.

Limited Pressing get your orders in fast.

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.

Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

Demi Riquisímo welcomes Jhobei and B.Love to the Semi Delicious fold with their debut EP on the imprint R U Listening. A solid four-tracker destined for the most discerning of dancefloors, the Bizarre Trax head honchos also enlist French master of the sultry groove Sweely to remix the title cut, bringing his signature deep house introspection to the release. Bursting with low-slung grooves, rolling basslines and club-ready energy, across the four original tracks Jhboei and B.Love demonstrate their shimmering, confident and at moments unorthodox style, honed through years of crate digging and musical exploration.

As Bizarre Trax, their own imprint and party goes from strength-to-strength, 2025 saw B.Love releasing on the esteemed 20:20 Vision and Dias De Campo records, and Jhobei on giants like FUSE and Up The Stuss, the pair successfully straddling a multitude of sounds, while maintaining their ethos of prioritising connection and feeling over trends in their house music. With Demi a frequent supporter of the pair’s releases, and vice versa, this anticipated label debut – paired with a new look for Semi Delicious’ artwork – makes a statement for the label’s intentions in 2026.

Following the massive success of Torment, Bidoben returns to Sciahri's Sublunar with a new EP titled Jett, a record that showcases his distinctive and forward-thinking sound design, cementing him as one of the strongest figures of the new generation.

The EP opens with Jett, a powerful and melodic cut marked by Bidoben's unmistakable sonic identity, followed by Voltage C, a refined and minimal piece with a subtle epic touch. The A-side closes with Tormented, a fierce reimagining of the atmosphere that defined Torment, demonstrating the artist's ability to evolve and expand his expressive range.

On the flip, Hypernature sets the tone with captivating grooves and cosmic melodies, leading into Ashley Origami, a solid, floor-oriented tool designed for peak-time tension. The journey concludes with Edges of Normal, the most mystical track of the release, lighter in tone but no less engaging.

Marvin Gaye always dreamed of being a smooth crooner, “sitting on a stool, possibly behind a piano,” delivering velvety songs like Nat King Cole. But Motown had other plans. Pushed between raw R&B and polished pop, Gaye fought to find his own voice, eventually rising to become one of the greatest soul singers in history.

Motown Records released the first Marvin Gaye record in 1961 "(I'm Afraid) The Masquerade Is Over", a single intended for (radio) promotion from the singer's debut album. This was followed up by the officially released "Let Your Conscience Be Your Guide" a week later. Gaye scored his first real hit with "Stubborn Kind of Fellow" in 1962, which he had co-written himself, joking about his alleged stubbornness. He found his own unique style with the single released at the end of the year: "Hitch Hike". The foundations were now laid for an enormous series of chart successes: "Pride And Joy", "Can I Get A Witness", "How Sweet It Is (To Be Loved By You)" and "Ain't That Peculiar" are all Motown classics from 1963-1965 which are still being regularly played today after all these years. The duets he recorded with Kim Weston ("It Takes Two"), especially Tammi Terrell and Diana Ross were certainly at least as good.

He scored his biggest ever hit with "I Heard It Through The Grapevine" in 1968. "What's Going On" from the same titled album became a number 1 hit in the USA. The album was received as a masterpiece and is regarded as one of the most important records in pop history. In 1973, the artistically and commercially very successful, "Let's Get It On" album was mainly a musical ode to Marvin's love for his new muse Janis Hunter. His journey continued after a turbulent relationship, addiction and a dramatic creative rebirth in Belgium, where he crafted the global hit “Sexual Healing in 1982.

Marvin Gaye left behind timeless hits, groundbreaking albums, and a legacy that shaped the sound of modern soul. His story, from ambition to artistry, from struggle to brilliance, remains as powerful as the music he created.

Music On Vinyl proudly presents a special coloured vinyl edition of the Marvin Gaye Collected album which is available as a limited edition of 10.000 individually numbered copies on white (LP1) and silver coloured vinyl (LP2) and includes a booklet with liner notes.

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

Ten years ago, Adolph Robert Thornton Jr. planted his flag. Released on February 19, 2016, King of Memphis wasn't just a debut studio album; it was a bold declaration of independence and a flawless blueprint for self-made success. To celebrate a decade of this foundational Southern rap masterpiece, Paper Route Empire is honoring Young Dolph’s legacy with a series of exclusive, limited-edition 10th Anniversary vinyl variants.

Before King of Memphis, Dolph had already built a massive underground following through a relentless run of mixtapes. But this official debut elevated him from a local hero to a national powerhouse.

By bypassing the major label system and releasing the project entirely through his own Paper Route Empire (PRE), Dolph proved that undeniable talent, relentless hustle, and business savvy were all you needed to take the crown. The album peaked in the Top 50 of the Billboard 200, an incredible feat for a fiercely independent artist at the time, and cemented his status as a CEO who called his own shots.

King of Memphis is all killer, no filler. Over 11 tracks, Dolph's signature slow-flow delivery and larger-than-life charisma glide over heavy-hitting, trap-defining production from a legendary lineup of producers, including Mike WiLL Made-It, Zaytoven, TM88, and Cassius Jay.

With zero guest features, the project relies entirely on Dolph’s magnetic presence. From the motivational hustler's anthem "Get Paid" to the menacing confidence of "Let Me See It" and "Royalty," the album plays like a victory lap for a self-made king.

Following a successful first volume of the newly launched DC4 compilation this summer, Volume 2 arrives featuring four on-point singles from the label’s extended family of artists, alongside a string of label debutants. Heerhorst & PETER PAHN return to the fold following their contribution to ‘Dark Clouds’ with Teenage Mutants, a former Beatport no.1 and highlight of 2023 for the label. Continuing the celestial themes ‘Crystal Sky’ feels like part 2 to ‘Dark Sky’, a lively electro-tinted record driven by dreamy melody lines and chanting vocals that has plenty of peak-time energy. Italian behemoth’s Mind Against debut on Drumcode in collaboration with Tharat, ‘Cloud’ is one of the most interesting releases we’ve heard on the label in recent times, marked by a head-spinning flurry of stuttering, distorted sounds, all the while maintaining a rolling,

intoxicating groove. Rising German artist Kos:mo mints his first release on DC with ‘Samsara', a fierce acid techno cut that takes on a life of its own in the second stanza, equally fit for a film soundtrack as a dancefloor, such is its dramatic arc. OZBEK & Zafer Atabey are mainstays of the Turkish techno and tech house scene, ‘My Culture’ is drenched in attitude, a slick slice of punchy dancefloor grit, with a foot in house, techno and electro, driven by a rapped vocal line.

For fans of post-punk and new wave, some songs aren’t just classics — they’re emotional landmarks. Joy Division’s “Love Will Tear Us Apart” and The Cure’s “A Forest” (both released in 1980) helped define an era, shaping decades of alternative music with their stark honesty, atmosphere, and unmistakable sound. Revisiting them is no small task.

Reimagining them successfully is even rarer. This special, limited 7” release — pressed to just 300 copies — does exactly that, thanks to legendary Dutch electronic producer Maarten van der Vleuten. A joint effort between Maarten’s own Signum Recordings and American chill-out imprint re:discovery records, he brings these two towering songs into new territory through the hands of an artist who understands both history and transformation. On one side, Maarten delivers a striking cover of “Love Will Tear Us Apart,” taking on Ian Curtis’ immortal lyrics himself. Rather than mimicking the original’s desolation, this version reframes the song into something unexpectedly inspirational and equally moving. It’s respectful, deeply personal, and emotional. Flip the record and “A Forest” is reborn as an ambient-electro journey, marking the vocal debut of Melbourne-based Linda Kastanja.
The result is dynamic and powerful, retaining the song’s eerie tension while expanding its atmosphere into something spacious and cinematic. Honoring their legacy while reshaping their form, it offers longtime fans and new listeners a rare opportunity to hear familiar emotions from a completely new perspective. Todocument this release, a music video has been made for “Love Will Tear Us Apart,” directed by Maarten and edited by Tobias Grönvall, aka Unit 21.