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The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.

Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.

The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.

Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.

Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.

The release comes as a 2xLP gatefold.

Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.

Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.


I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.


‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.


WHO IS MOHAMMAD SYFKHAN


Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.


Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.

There's Something Going On is the second studio album by Babybird, originally released in 1998.

The album is almost unrelentingly dark and mysterious, in much the same manner as his earlier lo-fi productions. Indeed, two of the tracks here, "You Will Always Love Me" and "There's Something Going On," were recorded straight to four-track. Jones' voice echoes out of lyrical valleys. "Take Me Back" is a horrific tale of an obsessive relationship, with lyrics about eyeballs scratched with rusty nails and a creepy chant of "dead, dead, dead" ad infinitum. It's a conceit that starts with the very first track, "Bad Old Man," where Jones sings of wife-beaters and a drowning in a duck pond. Musically, the album is more of a lean toward the baroque than Ugly Beautiful. One might describe it as stark, disturbed chamber pop. Beautiful melodies appear quite majestically out of Jones' psychological studies. "It's Not Funny Anymore" is bittersweet and touching, with Jones reaching for the album's emotional core over weeping, organic keyboards.

"There's Something Going On" is the tender conclusion, suggesting that Jones knows there's a better way of life than obsession and self-torture. There's Something Going On is definitely Baby Bird's most subtle album, and it's a fascinating listen from start to finish.

There's Something Going On is available as a limited numbered edition of 750 copies on turquoise vinyl and contains an insert.

Land of Talk is still here. That wasn’t always a guarantee. Over the multi-faceted twenty year history of their project, Lizzie Powell has drifted from and back to music, always interrogating their role as an artist. In the time since 2023’s Performances, they found themselves utterly worn down by the vicissitudes of the music industry and wracked with worry around their aging parents. Yet the music didn’t stop: Powell heard songs in traffic and in birds chirping, in their downstairs neighbor’s daily prayers and in the babble of children on the street. Melodies slowly cohered over time. “Life can become so unbearable, and music is where I go to metabolize it,” they explain. “I know the music was the only thing that was going to help me.” Soon Powell reemerged with the sixth Land of Talk album, LASTS.

LASTS is full of double meanings — both resilience and finality, acting as a noun and a verb. Though LASTS is haunted by crises including climate collapse, political upheaval, and genocide, the mangitude of global turmoil led Powell towards smaller, humane depictions of suffering and grief. As both their parents became ill, Powell reflected on the last time a person might walk, might talk to a loved one. Yet watching their parents near the other side of life’s arc also made Powell consider all they had survived across their own decades on this earth, their new songs channeling both gratitude and rage. LASTS became a phrase, honoring Land of Talk’s circuitous route and all Powell’s reckoned with through the years. “I think of this record as a love letter to life,” they say.

The end result is an album both lean and winding, allowing Powell’s words and melodies to take centerstage, uncrowded in visceral, shot-no-chaser arrangements. LASTS jumps right in with “Broken Tongue,” a wiry track built on thrumming electric guitar and ghostly synths as Powell rails against the lack of justice for victims of abuse. The trio’s interplay is readily evident in “Saffron” and “4:44,” two earworm songs that also allow themselves to unspool into extended instrumental codas. Early in the record, there are seething tracks like “Dogs” — “Just your basic instinct / Even dogs know better,” Powell growls in the chorus, before the song quiets into a plaintive plea of “Leave us alone now” — and later there are more vulnerable, wandering moments. In “Projections” and “Cedars,” Powell ventures deep into their head, inviting their co-conspirators and listeners alike to follow the songs wherever they meander.

YES is a genre-blurring blend of punk, electronic and rap from South Africa, released on limited edition White Vinyl

South African alt-rap trio Internet Girl have officially announced their debut album, YES, arriving November 13 via PACK. Records. Alongside the announcement, the group has released their new single “DA BUSINESS” featuring Kenny Mason.

A high-energy party anthem, “DA BUSINESS” opens with distorted guitar before chopped vocals briefly pull things back, only for an abrupt beat drop and howling synth to send the track into overdrive. As another synth melody sweeps in, TK cuts through the chaos with an introspective opening verse before Kenny Mason crashes in with a gritty guest verse. Live drums, distorted guitars, and surging synths continue to build around them, turning their vocals into something closer to rage-filled battle chants than traditional rap verses.

Partially written on tour last year, “DA BUSINESS” is the oldest song on YES and one of the album’s few guitar-led tracks. Kenny connected with the trio over DMs months earlier before joining them on the track, bringing Atlanta and South Africa together for one of the album’s most charged moments. “DA BUSINESS” follows the trio’s recent single “ALL THE SAME,” a swagger-heavy track built around a hypnotic Spanish-language vocal sample and live drums before a heavily distorted bass synth takes over in its final stretch, drawing inspiration from South Africa’s booming taxi rave scene. Together, the two singles offer an early look at the range of YES, moving between the rock, rap, and electronic sounds Internet Girl have made entirely their own.

Written largely during a week-long trip to South Africa’s Karoo region at the beginning of 2026, YES captures Internet Girl at a turning point. What began as an ad-lib TK would throw into his verses gradually became the philosophy behind the record: saying yes to an idea and committing to it completely, even before there’s any proof it will work. Across the album, that once-delusional confidence begins to feel real as the trio reflect on coming of age, growing more comfortable with themselves, and becoming increasingly assured in the music they make.

The new release arrives on the heels of a big year for the South African trio, who have brought their high-energy live show to stages around the world, including Pitchfork Music Festival Paris and Boiler Room Soweto, while co-headlining Kiss Kiss Festival in South Africa alongside Basement Jaxx.

California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in. The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune.

“Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.

California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in.

The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune. “Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.

Gatefold cover, single LP

Following her acclaimed 2024 debut Rocky Top Ballads, Fine expands her world on Jazz Dreams, arriving in a fluid, surreal, and expansive place. Over the past sixteen months, the album has gradually taken shape in public. Early versions of songs appeared in live performances, while demos and alternate iterations surfaced through Fine's NTS residency, alongside the release of the singles "I Could," "Run," "Moment," and "Portal."

Self-produced, recorded and mixed by Fine, the album’s thirteen songs unfold as a collage of scenes, stories, and musical ideas stitched together with a logic reminiscent of a dream. At the center of it all is melody. Fine's intricate vocal melodies act as the connective tissue between the album's shifting scenes and moods, guiding the listener through its emotional terrain.

Throughout Jazz Dreams, Fine continues to make the mysterious feel intimate and human. The songs do not search for answers or destinations. They embrace intuition, allowing memory, longing, possibility, and imagination to stir together into something new. Like a jazz improvisation, the album follows instinct wherever it leads, transforming emotional fragments into a real dream.

Gatefold cover, single LP

Following her acclaimed 2024 debut Rocky Top Ballads, Fine expands her world on Jazz Dreams, arriving in a fluid, surreal, and expansive place. Over the past sixteen months, the album has gradually taken shape in public. Early versions of songs appeared in live performances, while demos and alternate iterations surfaced through Fine's NTS residency, alongside the release of the singles "I Could," "Run," "Moment," and "Portal."

Self-produced, recorded and mixed by Fine, the album’s thirteen songs unfold as a collage of scenes, stories, and musical ideas stitched together with a logic reminiscent of a dream. At the center of it all is melody. Fine's intricate vocal melodies act as the connective tissue between the album's shifting scenes and moods, guiding the listener through its emotional terrain.

Throughout Jazz Dreams, Fine continues to make the mysterious feel intimate and human. The songs do not search for answers or destinations. They embrace intuition, allowing memory, longing, possibility, and imagination to stir together into something new. Like a jazz improvisation, the album follows instinct wherever it leads, transforming emotional fragments into a real dream.

A little over a decade on from his debut album released on the label, Wah Wah 45s are very proud to present two brand new remixes taken from Afrobeat AmbassadorDele Sosimi’s much celebrated LPYou No Fit Touch Am. In the years that have passed since the album’s release, a number of producers and DJs have re-worked and reimagined cuts from the album, most notably the much reveredMedlarand his irresistible take on the title track.

In anticipation of Dele’s long awaited follow up album in 2027, and closing off theYNFTAera, we present to you two brand new remixes of tracks taken from this timeless LP.

Mysterious London based producer and DJbrekkyt(erstwhile known as The Breakfast Triple) is up first with a typically rhythm-focused, bruk infused and bass worrying re-work that takes Dele’s ever popular title track to a brand new audience, perfectly timed for the current broken beat revival. Brekkyt’s recent cheeky re-works for Raphael Saadiq, Mis-Teeq and most recently for Kyla Kilzer & Max Noir on Tru Thoughts Recordings have seen his music receive some serious heat.

On the flip, Portuguese producerMeithtakes album favouriteSanctuarydeep into Afro-tech territories creating an irrepressible groove tailor made for the big rooms this summer. The Lisbon based beat-maker has previously released club focussed tracks on labels like Kazukuta and Sondela Records.

This pair of dance floor destroying remixes will be available on hand-stamped, white label vinyl.

Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.

This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.

To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.

Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.

There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.

And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.

There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.

With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.

Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.

Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.

With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.

With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.

Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.

Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.

With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.

Rebolledo is back. And this time, he's bringing his own label: Rated R. What began as a party series — with chapters like Rated R and Wax Upon A Time — now mutates into a record label. Long overdue, if you ask us. Surrounded by talented friends from all corners of the globe, this is the new home for bringing everything back into focus. And yes, on wax too.
Naturally. For the first release, we're kicking things off with something equally overdue: Rub N Tug are back. The track? A certified underground wanderer. Loved, played, and passed around dance floors worldwide for well over a decade, yet somehow never properly released. Or maybe it was. Sort of. It's complicated. Now it returns with a remix of a remix, giving the whole thing a fresh coat of cosmic polish. As if that wasn't enough, Paulor takes things one step further with a particularly special jam of his own. Which means we're now dealing with a remix of a remix of a remix.

Confusing? Maybe.
Necessary? Absolutely.
Makes perfect sense to us.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Sekouba Bambino’s ‘Sebema’ first time on vinyl (previously CD / cassette only) with edit treatment from frequent collaborators Pete Blaker & Dionisos on the A-side and the original on the flip.

Originally released in 2004 by the Guinean multi-instrumentalist and singer-songwriter, this cut was taken from his Ambiance Ballon album. Real name Sékouba Diabaté, he was previously a member of Bembeya Jazz National, who are regarded as one of the most significant jazz groups to emerge from Guinea as well as joining Africando All Stars in the late 90’s. Bambino went on to pursue a solo career and released projects throughout the early 2000’s on Syllart Productions.

The edit by Pete Blaker and Dionisos overdubs sound effects, additional percussion and guitar licks to build tension throughout the track and emphasises that hypnotic chorus.

Four years on from the much-loved Shelter EP, Orphic return with the Mambe EP, a long-awaited follow-up that sees the duo push further into their signature world of deep, dubwise techno and hypnotic club music. The record opens with the title track, a slow-burning piece of stripped-back techno that unfolds through submerged chords, rolling percussion and finely detailed sound design. Sitting alongside it are two solo productions from each half
of the Orphic project.

Kieran Jandu’s Back To Mine veers into deep, bass-heavy electro, all cavernous sub pressure, fractured drum programming and smoked-out atmosphere, landing somewhere between the weight of Digital Mystikz and the hypnotic, off-centre psychedelia of a Craig Richards set.

DJ Space Taxi takes a different route with Dream Cycle, an introspective, dreamlike cut where shimmering textures, drifting melodies and restrained rhythm combine to quietly draw
you in.

Flipping the record over, two of the underground’s most distinctive voices reinterpret the title track. Polygonia brings her unmistakable fluid, organic touch, stretching the original into a beautifully detailed, living groove, while Konduku strips things back into a
deeply hypnotic, psychedelic excursion that feels tailor-made for the outer edges of the dancefloor.

A beautifully restrained return from Orphic that more than justifies the four-year wait. Four artists, four distinct perspectives, held together by a shared appreciation for depth, space and subtle movement.

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

Celebrating 30 years since ‘Buena Vista Social Club’ was released, this classic will be made available on limited edition pearl vinyl and features the remastered audio and bonus tracks released as part of the album’s 25th Anniversary in 2021.

Masterminded by the trio of Cuban bandleader Juan de Marcos González, American producer and guitarist Ry Cooder, and British producer and label owner Nick Gold, 'Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album they recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at over 8 million copies, outselling any other record in the same genre.

The acclaim of the original album elevated the artists (including Ibrahim Ferrer, Rubén González, Eliades Ochoa, Compay Segundo and Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, a Tony Award-Winning Broadway Musical and contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder and Executive Produced by Nick Gold for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this album will go down as one of the landmark recordings of the 20th century.

Regular contributor Vick Lavender returns to Cataleya Music for a Soulful vocal mission with Angel-A. They have previously worked together on songs like Rain for Lavender's Sophisticado Recordings and G.I.R.L. for Phuture Sole Recordings. Here we have Soul Travel (Day & Nite, Nite & Day). This song is in the same vein and features positive vocals from Angel-A over a stylish key driven groove. The vocal is backed by an Instrumental Mix where the key driven melody and complex percussion rhythms take center stage, assisted by star gazing synths. This is another rich composition from Vick Lavender with uplifting lyrics from Angel-A.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Acid Pauli returns to the curious world of Gwar Is Not The Answer (originally released 2006 on Smaul) with a carefully remastered re-release that includes two new remixes from Jonathan Kaspar and Acid Pauli. The title track unfolds at an unhurried pace, weaving loose acid traces through warm percussion and off-centre melodic fragments that seem to appear and dissolve before settling into place. It drifts forward with a quiet sense of momentum, balancing eccentric textures with a groove that remains firmly grounded throughout. With his new remix Jonathan Kaspar takes the original into leaner territory, sharpening its contours and drawing out its tension while preserving the peculiar character at its core. His remix stretches the track into a more focused club framework where rolling low-end pressure meets finely tuned rhythmic movement, allowing small details to carry unexpected weight. On the flip Acid Pauli revisits the track from a different angle. The remix opens up the source material into a spacious and fluid arrangement where shimmering tones circle around a deep pulse and subtle harmonic shifts gradually reveal themselves over time. Together the three versions explore different dimensions of the same musical language, moving between psychedelic house, understated dancefloor functionality and the kind of idiosyncratic storytelling that has long defined Acid Pauli's work.

Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."

As a longtime member of Hot Chip and LCD Soundsystem, Al Doyle has spent decades working alongside two of the most distinct vocalists in modern pop: Alexis Taylor and James Murphy. If he’s had a song or an idea, there’s always been someone else he’d rather have sing it.
But on November 20, 2026, the British multi-instrumentalist will release Hollywood Saviour, an album that drove him to finally embrace his own voice. “It’s me discovering a way to write and sing stuff that I could live with,” he says of his first-ever solo outing.
Recorded in his East London studio, Relax and Enjoy, Hollywood Saviour has the feeling—the rush and release—of a breakthrough, of an artist letting go. Doyle’s found freedom in simplicity here, leaning into the many pleasures of guitar-bass-drums, indulging wholeheartedly in the weird, spontaneous, raucous, and raw. He sounds free.
That sense of fun and rampant possibility can be felt in every groove, Doyle finding added inspiration in the loose and the louche, from Sexual Harassment’s 1983 electro-funk raunch-o-rama “I Need A Freak” to Throbbing Gristle’s locomotive 1980 paean to jerking off, “Something Came Over Me,” which is lovingly covered here.
At times, this album feels like a delirious response to the darkness of our current moment. On opener “Hard Times in America,” Doyle offers us a psychedelic window into his experiences traveling back and forth to the United States in recent years, feeling fascism’s hold tighten with each visit.
That sense of character comes through in Doyle’s vocal approach, a giddy combination of Iggy Pop, Pete Shelley, and PIL-era John Lydon. On “All I Want for Christmas”—a dark and devastating highlight—he takes on the shape of a drug addict come holiday season, “both dead and alive,” abandoned by his family, stumbling through a garden of drum machine and piano. It’s a pop song, lovely and lovingly rendered. It just wouldn’t be the same without his voice.

SOMA35.4 - Slam 'Activate' Remixes

Soma's 35th anniversary remix series continues with SOMA35.4, turning its focus to one of the label's more recent defining tracks - Slam's 'Activate'.

Originally released as part of Slam's catalogue over the last decade, 'Activate' quickly established itself as one of the duo's most recognised and widely played tracks of the period. For SOMA35.4, the track is handed over to four artists who each bring a distinct perspective to its driving, functional foundations.

Luke Slater takes 'Activate' and applies his trademark precision and raw club-focused approach. Oscar Mulero delivers a tougher, more industrial interpretation, pushing the track deeper into his characteristic high-pressure sound. Phil Berg brings a hypnotic, groove-led edge to his version, while Nastia Reigel offers a more contemporary, atmospheric take that reshapes the track through a different sonic lens.

SOMA35.4 continues the ethos behind the 35-year project: bringing together established figures from Soma's history and artists operating within its wider sonic sphere.

Tracks 1, 3 & 4 Mastered By Conor Dalton @ Glowcast Mastering
Track 2 mastered by Carlos Koschitzky

You asked for one more. Laibach duly oblige with MUSICK : ENCORE, a follow-up album to their 2026 record MUSICK, out on Mute.

They answer the crowd's demand with six brand new tracks and reworks of songs from the original album, reimagined by an eclectic line-up. Vinyl takers get the core 10-track experience, pairing new songs with four key reworks from the band, Richard X, PUNCHBAG, and Balžalorsky. The CD goes further, expanding to 13 tracks with additional remixes, including a rework of new track ‘#US’ from SILVERWINGKILLER, an Algorithm remix of fan-favourite ‘Allgorhythm’, and a bonus version of ‘Love Machine’ courtesy of The Lincolnshire Poacher.

Where MUSICK turned maximalist, hyper-driven pop into a reflection on our oversaturated, AI-warped media landscape, ENCORE pushes further into that fractured hall of mirrors – glitching, distorting, and rebuilding the original tracks into new shapes, from pulsing electropop to warped Eurodance detours and everything stranger in between.

Ihr habt nach einer Zugabe gefragt. Laibach liefern: Mit MUSICK : ENCORE erscheint auf Mute das Nachfolgealbum zu ihrem 2026 veröffentlichten Werk MUSICK.

Als Antwort auf die große Nachfrage präsentiert die Band sechs brandneue Tracks sowie Neuinterpretationen von Songs des Originalalbums, umgesetzt von einer vielseitigen Auswahl an Künstler. Die Vinyl-Version umfasst zehn Tracks und kombiniert neues Material mit vier ausgewählten Reworks von Laibach, Richard X, PUNCHBAG und Balžalorsky.

Die CD-Version erweitert das Programm auf insgesamt 13 Tracks und bietet zusätzliche Remixe. Darunter befinden sich eine Neuinterpretation des neuen Tracks „#US“ von SILVERWINGKILLER, ein Algorithm-Remix des Fan-Favoriten „Allgorhythm“ sowie eine Bonusversion von „Love Machine“ von The Lincolnshire Poacher.

Während MUSICK maximalistischen, hochenergetischen Pop als Spiegel unserer reizüberfluteten und durch KI zunehmend verzerrten Medienlandschaft inszenierte, führt ENCORE diesen Ansatz konsequent weiter. Die ursprünglichen Tracks werden zerlegt, verfremdet und neu zusammengesetzt – von pulsierendem Elektropop über verschobene Eurodance-Ausflüge bis hin zu allem, was dazwischen noch eigenwilliger und unerwarteter wird.

Volume 1 - Growth
Resurrection is a long-term musical work that has accompanied Christine Benz for almost twenty years. The first track was created in 2007 (track id - Born after Code), with another piece added nearly every year thereafter.
Throughout this time, she continued to produce other music while steadily developing her artistic language.
Musically, the album moves between minimal techno, ambient and experimental electronic music. Across different phases of her life, Resurrection gradually grew into an archive of her personal and musical evolution.
The complete work unfolds as a trilogy across Volumes 1-3.
At its core lies her fascination with sound as material. Rather than thinking in terms of conventional melodies, she works with textures, vibrations, and spatial relationships. A small number of elements give rise to complex sonic spaces, where minimal changes can have a profound effect. Mistakes, chance occurrences, and unexpected responses from the systems she uses also become part of the music. Even from chaos, remarkable structures
emerge. Whenever unplanned beauty reveals itself, she preserves it as a small “miracle” in which control and chance intertwine.
The complete work unfolds across three chapters: Growth, Structure and Resonance, exploring repetition, frequency, perception, consciousness and technological development in the relationship between humans and
machines. It moves from origin through the formation of an internal order towards connection and interaction.
Volume 1: Growth, draws upon the Fibonacci sequence and the spiral as symbols of natural development, with the music growing through repetition and minimal change into increasingly complex forms. Throughout the
project, technology appears as a tool, a partner and a mirror of our perception, raising the question of whether consciousness, responsibility and empathy can evolve alongside technological progress.
During the project’s long evolution, Donato Dozzy developed an interest in Christine’s distinctive sound design.
In 2021, this led him to propose his own interpretation of Our Determination for Volume 1, subtly reworking the track through his own musical perspective.
The artwork developed by Christine also went through a creative process of its own. The original photographs were taken in a basement around 2019, with a wet curtain draped over her. In 2026, she decided to transform
this visual world into a moving-image artwork. For the production, a film crew reconstructed the entire setting.
The video shoot demanded a great deal from Christine: after several hours beneath the wet curtain, the cold was no longer merely part of the staging. This elaborate creative process gives the artwork its distinctive character
and makes it an essential part of Resurrection.
The first chapter will be released in November 2026 as a double-vinyl edition housed in a distinctive gatefold sleeve with an inside-out finish, matte varnish, and partial raised spot UV varnish. Two further double-vinyl
releases, Structure and Resonance, will complete the trilogy. All three volumes will be released on Pirat Records.Records.

2026 Repress

Do you know what time it is It's debut o'clock. Emitting his first material for Pampa, it's &ME - craftsman of all things deep and sturdy, at the same time connoisseur of emotive touch and virtuoso of sure instincts, one of the scene's central characters for a good amount of years now and one of the main figures of Berlin's Keinemusik-crew. The man has been hitting the bulls eye of public perception several times in the past, meeting everything it takes to get a crowd going with an intent on the detail when it comes to his arrangements and sound. These new two cuts seem nothing less than the essence of his abilities.

There is "In Your Eyes", the name lending A side to this EP, showcasing a rather pensive mood. It's just a few bars for the compound of kickdrum, tuned hi-hat tambourine and shimmering background noise until the first chords of an improvised piano-piece are tenderly laid upon the beat. Add a synth-motive coming back and forth and you'll have the main ingredients to this - in every sense of the word - floor-moving tune. Accordingly, the arrangement won't aim for an all too obvious sensationalism and rather opts for a flowing and intertwining call and response of its elements, ultimately resulting in a staggering impact anyway.
In comparison, "As Above So Below" on the flipside is adding a fair amount of emphasis. It unfolds in a dry and dense sounding beat-architecture that's suspense-packed with shaker sounds and subtextual field recordings. Most certainly, a slip-proof ground for this tune's centre-piece, a scale-riding synthbass sparking an almost anthemic trigger for floor-ecstasy. While details like subtle reverberating tapping and sparkling ambient textures sound like recorded deep down in a dripstone cave, the overall energetic layout pushes relentlessly to the heights of peaktime-grandeur. There you have it: "As Above So Below" - this tune works on every level.

2026 Repress

Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category Album: who will hear it where? also: mood, position, length. Second, thinking in category Maxisingle: a spinning-tool for the club – another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. And each version should make you HOT for the other!
Nata Alma, a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Further, further on, towards the flickering, stoically. Water, flames on the horizon, Fata Morgana, a mirage. »And you might say, we've got no place to go?« - okay? no notokay at all!: Shuffle!
Nata Alma, melancholic Eight-minute-forty. A love song, a wave good-bye: »And you might say, that you need me no more?« sings Sidsel Endresen alongside Bugge Wesseltoft's swells and ebb-aways – metal never sounded so longing; a buzzing swing, a siren call from afar.
Robag Wruhme takes a seat at the organ and plays minor bass notes. He gets up, leaves the room and lays down a dry rock of funk: wooden kick on wooden snare, tight-cut voices, driving hi-hats and shakers, gated synth danglers and percussion loops. Relentless, stoically. »And you might say, that it's over?« – relentless, maybe, but that's how he creates the Further: keep going! dance it off! a new day rising!
And right here. Flip it and keep on moving: Venq Tolep. A summer meadow, grass-stains, a gentle breeze, an early smell of hay. Venq Tolep. Endorphins tickle under the skin. A
percussive spectacle, dance of the insects. Hopping around in flat shoes, the beat is phat and reverberated by a cluster of trees. Stabs on the e-piano set in, picturing the euphoric moment when Loving-feelings walk hand-in-hand with a Hint of Melancholy.
Robag Wruhme, Nata Alma and Venq Tolep - music for dance floors, inside and outside, music for the summer, day and night, and for convertibles on the way there.

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

The latest in our series of Limited Edition 7x7" Soul Box Sets celebrates the work of Dave Hamilton.

Dave's musical career in Detroit stretched from the 40s into the 80s. He was involved in all black music styles during that period - blues, jazz, and gospel as well as soul music.

A talented songwriter, he wrote or contributed to ten of the fourteen compositions here and produced them all in his studios.

Though his released output was modest, considering the amount of recording he did, the gems in his tape vaults have been surprising and entertaining black music lovers since they were accessed by Ace in 1990.

That purchase came about due to Richard “Gilly” Gilbert’s detective work in discovering that a big covered-up Northern Soul spin at Wigan Casino was actually Dave’s production on “Little Ann” Bridgeforth. The ensuing years have seen soul tracks in all genres, issued on Kent and BGP and we are still discovering great tracks 36 years on. Witness ‘You Got Me Where You Want Me’ by Chico & Buddy, a fabulous funky number from around 1970 that would have been a soul fan’s favourite whenever it was issued; this is its first public appearance.

Funk crosses over to all dance scenes these days and even jazzier tracks like Dave’s own ‘Soul Suite’, a close relation of his coveted ‘Pisces Piece’ will pick up plays now it is on vinyl. Northern Soul lovers have been demanding J T Rhythm’s ‘I Love The Way You Walk’ on a seven, as have Motown connoisseurs with Rita DuShay’s original of ‘All I Need (Steal Away Tonight)’ as covered by Barbara McNair on her 1966 Motown LP.

Original copies exist of the Ravins ‘Your Love Is What I Want’ but unless you have several grand to spare on this fast and furious dancer, our audio-enhanced release is a great substitute; especially with the Kent 45 deleted.

OC Tolbert delivers a tough and menacing Clarence Reid song ‘Along Came A Woman’ which has huge dancefloor potential, like Dave’s own bluesy vocal on his similarly gritty, R&B composition ‘Take Care Of Your Own Business’.

Dave’s accomplishments into the 70s and 80s are admired by modern soul lovers and his ‘Ride The Disco Train’ by the Moderations, hit a perfect groove for progressive clubs of the genre. Both the Felecia Johnson and New Experience tracks thrive on the laid-back atmosphere Dave was able to conjure up in his home studios and the talented singers present his thoughtful songs with panache.

With enhanced audio for both of Little Ann’s uptempo and ballad classics ‘What Should I Do’ / ‘Deep Shadows’ this box set is irresistible as well as being a tribute to the unsung heroes of Detroit Soul music.

2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker

A leader of the Portuguese wave in techno co-founding Hayes Collective while boasting acclaimed releases on Klockworks, Blueprint, and Soma, Temudo grabs the reins to take club music back to its days of audacity and risk taking. A more than promising up-and-comer turned modern reference, Temudo defends his reputation with a release showcasing depth in his various sonic universes and a deep understanding of his music's history. For its seventh release, Temudo's 'Meteora' is a logical next step for the club's direction - a sweet spot between dancefloor efficiency and enduring aesthetic.

Combining the intrigue of mental soundscapes with the reliability of imposing rhythm, 'Meteora' finds itself collected, expressing effect through restraint. The title track, claiming the EP's A1, is just that - a force of interweaving sound design and powerful micro transitions. Some believe the best techno records are able to express emotion and attitude despite its dissonant and machinelike nature; if that's the case then Temudo has mastered the craft. 'When I Grow Up', however, puts the focus back on the body. What sounds like warbling tape modulation over a percussive lead makes this record an addictively delirious ride from start to finish, fitting in with the track before while shifting to different priorities. Proving his versatility, 'Vrthng' at first seems reminiscent of the minimal Berlin style with a higher pace, but quickly progresses into something intensely euphoric. With experience and measure, an out of the box approach can really pay off, and the added emotion in 'Vrthng' is certainly a turning point in the EP. This mindset is clearly carried over in the project's conclusion : 'It's Always Past'. A surprising use of harmony and storytelling, this final chapter ends with Temudo sealing his style with confidence. The track is mystified by its chords, ending 'Meteora' with a question mark that leaves us in anticipation for what Temudo dares to do next.

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with 'Damaged', his first album for The Bug's PRESSURE label..

Having recently dropped two criminally overlooked, experimental dub LPs, with his 'Dub Over Science' series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades, and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, 'Damaged' celebrates the point of departure within it's mesmerising low end grooves. Album opener 'Chemical', provides an opiated slo-mo skank, which sounds like Plastikman's 'Consumed' era pulsations drenched heavily in sub aquatic fx. A triumph of surface noise surfing and sub woofer testing relentlessness, it provides the perfect intro to this compellingly immersive album. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dub's richter scale tremor rhythms remain impressively massive, and the atmospheric depths of 'Damaged' appear tantalisingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking. The lead single 'Thin Line' itself provides a missing link between African Headcharge's early percussive body probes and Rhythm & Sound's addictive radiance, with the slightest hint of Burial's doomed romantic hauntology added for good taste. Alternately, and no less gracefully, 'Dub Lobotomy' bizarrely resembles Miles Davis 'Get Up with it' chopped, screwed, and relocated to a futuristic Kingston Town. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines accross the duration, and gives the album an improvised edge, and sense of peripheral chaos. Elsewhere, spooked steppars('Hot Wired'), haunting house ('True to life') and 4th World psychogeography('Undone'), combine to ensure there is a forever changing mixture of flavours percolating within the admirable consistancy of the overall sound.

With a tip of the cap, and nod of the head to Pole('Second Thoughts'), its no surprise then that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high quality sound and levels are definitely maintained throughout.

If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, 'Damaged' provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

2026 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

2026 Repress in White Vinyl
There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

Finnish-American producer Tin Man aka Johannes Auvinen has spent much of his career updating 80s Chicago acid house for a new era and on 2006's now reissued 'Love Sex Acid', the three 303-driven cuts recall the acid work of Laurent Garnier and Ludovic Navarre. 'Falling Acid' opens with a gloomy intro before building into clattering snares and a slowly intensifying 303 wig out. 'Let's Do It Acid' writhes hypnotically with a snake-like bassline and a haunting whispered sample, while 'Love And Sex Acid' leans into deep house, with tasty electric piano licks over acid textures. A still well-crafted new take on acid's roots that hasn't aged in the 20 years since the revered Finnish label Sahko first issued it.

DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more

Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.

On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.

The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.

Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.

‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.

It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.

To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.

The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.

The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.

When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.