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A1:Memphis Stomp
Super rusty sounding House touched Breakbeat Track!
The Bassline-Drop and Live mixing is hot!

A2:Come on Cum
Oldschool House Track without Bassline to be able to concentrate you on the "Dobble Match of two Drums Machines"!
The sequenced VOX Sample comes from a classic CS2X Synthesizer and is added to the Space Echo to bring a special Magic inside. DJ TOOL!

B1:Demon Area
Welcome to the TECHNO HELL!
Pure Darkness and a bright expressive Flow come together.
A Fat Bassdrum is hammering your head and the ultra effected Synthesizer Line will destroy your Brain.

B2:Furore Move
More an experimental Splitt Track...
The beginning of this track is a presentation of the CS15 Synthesizer with a Bassdrum.
The Break is coming... A synth-vox-line is coming... A 4 to the floor run is coming..
all things are going well.. Than a little chaos breaks out... and in the end, all is good again.

*2X12" Gatefold LP - includes download code.

Electronic musician nthng presents his fifth album, Last Light of the Sun, his debut release on topo2. Renowned for his meticulous productions and quietly distinctive artistic voice, nthng continues to move effortlessly between ambient, IDM, dub techno, and drum & bass without ever feeling bound by genre. Last Light of the Sun shows that the album format is a natural home for nthng's expansive musical vision. Throughout its ten compositions, the album moves gracefully between dreamlike melodic passages, restrained, fragile 4/4 structures, melancholic drum & bass punctuated by vintage house vocal fragments, and spacious ambient compositions that feel unmistakably his own.

The double LP is released by adventurous electronic music label topo2 on October 2, 2026. The record is pressed on two 180-gram discs of ICCS-certified bio-vinyl and housed in a heavyweight full-colour gatefold sleeve. Mastered by Isabel Schröer at OLO Mastering, with artwork by Alyssa Warren and Raen Coplin. Additional contributions include bamboo flute on "Flutter" by Temple Rat and typewriting by Karina Rovira.

The latest release from Rainbow Disco Club’s label imprint, Beyond Space And Time, is the debut compilation from The Melting Hours, a live project by Wata Igarashi and Kuniyuki. WataIgarashi continues to make his mark on the history of techno, whilst Kuniyuki has long been revered as one of Sapporo’s greatest treasures. The two artists, who have long held mutual respect for one another, met whilst performing at the Draaimolen Festival 2025, and this encounter gave rise to The Melting Hours.

‘Blue Sun’ is imbued with a freshness reminiscent of the ambient jazz masterpieces released by prestigious labels such as ECM and Windham Hill. ‘Liquid Dunes’ sees the organic tones of the flute and percussion melt into over ten minutes of abstract sound textures, whilst the breathtaking ‘Cloud Touch’ awakens amidst a swirling vortex of pulsating downbeats and arpeggios. It is said that ‘Blue Sun’ was created by reconstructing studio rehearsal recordings, whilst ‘Liquid Dunes’ and ‘Cloud Touch’ were crafted from live recordings at Draaimolen 2025. The essence of these works—and indeed of the project The Melting Hours itself—lies at the heart of their improvisational nature.

It brings to mind the Rainbow Disco Club event back in 2026, where they wove their sounds amidst fresh greenery and surrounded by listeners under a clear blue sky. It felt as though the pulsating energy was spreading across the dance floor, guided by a session from The Melting Hours that seemed almost like a living creature. The organic breath one senses in this work not only evokes precisely that scene but also allows us to feel the unique, ephemeral nature inherent in this project—and, consequently, the boundless possibilities that stem from it.

Rainbow Disco Club のレーベル・ライン'Beyond Space And Time'から放たれる最新作は、Wata IgarashiとKuniyukiによるライブ・プロジェクト、The Melting Hoursによる初の音源集だ。テクノ史に残る実績を現在進行形で刻み続けているWata Igarashi、長きに渡り札幌の至宝として尊敬を集めてきたKuniyuki。兼ねてよりリスペクトを送り合ってきた両名がDraaimolen Festival 2025への出演を契機に邂逅し、始動したプロジェクトがThe Melting Hoursである。

ECMやWindham Hillといった名門レーベルのアンビエント・ジャズ傑作群を彷彿とさせる瑞々しさを湛えた"Blue Sun"。10分以上に渡るアブストラクトなサウンド・テクスチャーの中にフルートや鳴り物のオーガニックな音色が溶ける"Liquid Dunes"と、そして鳴動するダウンビートとアルペジオの渦に覚醒する圧巻の"Cloud Touch"。"Blue Sun"はスタジオでのリハーサル音源を、"Liquid Dunes"と"Cloud Touch"はDraaimolen 2025のライヴ音源を、それぞれ再構築し楽曲化したものだという。これらの作品、ひいてはThe Melting Hoursというプロジェクト自体のエッセンスは、その即興性を核としている。

WataとKuniyukiがゼロから音を立ち上げ、お互いのエレクトロニクス/生楽器を操る技術、それぞれエレクトロニック・ミュージック以前にフリージャズやニューウェイヴ/インダストリアル等に傾倒した時期を含む、音楽家としての半生を持ち出し合う感覚。そこに、例えばDraaimolen出演時に降り出した雨や、リハーサル時にスタジオに迷い込んだ蜂のような、外的かつ偶発的な要因、感情やムードの起伏までもが絡み合う様相。互いの予想を越えるスリルの中で曲が形づくられるプロセスこそが、この作品とプロジェクトを特別なものとしているのだという。

快晴の元で新緑とリスナーに囲まれ音を紡いでいった、去る2026年のRainbow Disco Clubを思い出す。まるで、生き物のようなThe Melting Hoursによるセッションに導かれ、脈動するエネルギーがフロアに伝播していたようだった。この作品から感じられる有機的な息遣いは、まさにそんな情景を思い起こすものであると同時に...このプロジェクトが宿すその場/その時限りの唯一無二性と、それ故に広がっていく限りない可能性をも感じさせてくれる。

CEPX003 continues the X-Series on CEP Records with a four track release by Elyas. As a long standing figure in the international techno scene, he has built a strong name through many years of dedication. Known for releases on labels such as Soma Records and Player, Elyas stands for raw and uncompromising techno with influences from ghetto and acid. Alongside vinyl and digital releases, he also runs two own labels and continues to shape the scene with a clear and functional sound. A1 'Cabale' and A2 'Bop Gun' move in a similar direction. Bouncy kicks meet acid lines and atmospheric pads that give both tracks a deep and driving feeling. Straight forward 4 to the floor techno for sweaty warehouse mornings. Small twists, rough transitions and unexpected moments keep the tracks moving from start to finish. On the B side, 'Gimme The Loot' and 'Ghetto Sneak Assault' bring a strong ghetto influence. Playful arrangements, raw vocals and sharp one shots create a loose but powerful groove. The tracks feel direct and slightly chaotic in the best way, while still keeping full control.

2026 Repress
Vinyl Only

Discover our second release featuring Erro, Leanca, Herck and Techu.

Put out on the vinyl circuit today on the occasion of Sascha Müller's 50th birthday is the "50 Years, Still Banging It Hard EP" by named long standing purveyor of quality electronic music, providing a set of three original tracks by Mr. Müller himself as well as three additional remixes on highly limited heavyweight splatter vinyl. With the opening cut named "The Real Acid Protector" Sascha Müller caters a straightforward and well peaktime oriented take on UK-infused Acid Techno backed by heavy claps and spiralling modulations followed by the floating hypnotic late night x early morning Acid(Trance) meditations and twisted machine choirs of "Acid Is Our Religion" whereas the subsequent "Defunction 303" brings forth enchanted Acid Breaks for experienced late night crowds. On the flip we see Citric Acid provide a remix version of "The Real Acid Protector" which speeds things up heavily for strobe-lit underground basement parties whereas the "Acid Is Our Religion *eVADE Remix" offers a playful and trippy little Acid journey for the deep late night jackers and the Flensburg-based DJ Nightnoise morphs "Defunction 303" into a stripped down, swinging and enchanted IDM x Minimal Techno affair whilst at the controls for his so-called 'Mental Atmosphere Remix'. Great stuff and a worthwhile birthday celebration indeed. Go check!

Review by baze.djunkiii / nitestylez.de / 2024.08.26

Limited pressing on splatter vinyl.

Dream Sonic Research returns with its second installment, blending techno with elements of trance and progressive.The release opens with The Portal, driven by a straightforward bassline, wobbling sub-frequencies, and chords that evoke Detroit techno. It is followed by Rise of June, a track that sets the mood for the party with a groovy bassline and an opening melody.

On the flip side, Blind Karma is a straight-to-the-point, psychedelic tune crafted for adventurous dancefloors. Closing the EP, Water Float takes everything to another place, an ethereal journey that draws you home.

Steffi & privacy are back with their Negroni nails project! Another 4 razor-sharp Electro Techno dance floor missiles slamming every dance floor!

Die Synthesizer-Künstlerin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist und gewann damit ein treues Publikum. Nach einer Reihe gefeierter EPs nahmen Florist fünf Studioalben auf, die sich durch ihre intime Weltgestaltung und durch Spragues gefühlvollen Gesang auszeichnen. Den Soloalben "Hill, Flower, Fog" aus dem Jahr 2020 und "Cloud Time" aus dem Jahr 2025 - einem Album mit modularen Synthesizern, das live in Japan aufgenommen wurde - nachfolgend, ist "Cyano" ist ihr erstes Soloalbum, das Spragues intuitive Synthesizer-Musik mit dem Songwriting verbindet, für das sie mit ihrer Band Florist bekannt ist, und führt Gesang in ihr bisher rein instrumentales Schaffen ein. Absichtlich minimalistisch gehalten, ist Spragues Gesang wie eine rauschbehaftete Übertragung, die einen technischen und symbolischen Wendepunkt markiert - mit experimenteller, formloser Musik, die die eher konventionellen Songstile von Florist dekonstruiert. Emotional verankert und von Vergänglichkeit getrieben, spiegelt das Album sowohl Spragues inneren Raum als auch den konzeptionellen Planeten "Cyano" wider und setzt sich mit dem Selbst, dem Anderen, der Ökologie und dem Leben in einer fernen Welt auseinander. Spragues musikalischer Ansatz ist geprägt von einer zutiefst persönlichen Atmosphäre, die darin wurzelt, Geschichten über sich selbst und andere - Formen der innerpersönlichen und zwischenmenschlichen Verbindung - sowie die Unbeständigkeit dieser Versuche zu ergründen. Durch intime phänomenologische Erkundungen bietet "Cyano" subtile und eindrucksvolle Klangtexturen, die Verletzlichkeit einbeziehen. Emily A. Sprague erschafft eine komplexe Welt und erweitert dabei ein Klangspektrum, das zugleich vertraut und zutiefst neu ist - ein Spiegelbild ihres inneren Spektrums, das in andere Welten blickt.

Pianist Hideo Ichikawa, a musician equally renowned for his dazzling technical skill and his gift for composing innovative, lyrical works, left behind this outstanding piano trio album for the TBM label. Recorded during the height of his artistic maturity, the album stands as one of the finest achievements of his career. Series supervised by Koki Hanawa.

XKatedral ist stolz darauf, ein neues Album in voller Länge von Label-Mitbegründerin Maria W. Horn zu präsentieren. ,Melting Pillars of Snow" ist eine Sammlung neuer Kompositionen der renommierten schwedischen Komponistin, geschrieben für Kontrabassblockflöte, Sho, Percussion, E-Gitarre, Gesang und Elektronik, gespielt von Horn zusammen mit einem Kammerensemble bestehend aus Anna Petrini, Mattias Hallsten, Magdalena Meitzner und Mats Erlandsson. Das Album enthält außerdem eine Erzählung von Horn sowie einen Gastauftritt von Michael Gira auf der ersten Single ,Scythe of Saturn". Für ,Melting Pillars of Snow" ließ sich Maria von W. G. Sebalds Roman ,Die Ringe des Saturn" inspirieren, einer poetischen Reflexion, die einem namenlosen Erzähler folgt, der an der Küste von Suffolk in England umherwandert. Während sich die Landschaft allmählich verändert, thematisiert der Text auf vielfältige Weise den Lauf der Zeit und die Distanz zwischen Vergangenheit, Gegenwart und Zukunft und spiegelt dabei sowohl weitreichende zeitliche Maßstäbe wie die Zyklen der Jahreszeiten und die tiefe historische Zeit als auch mikroskopisch kleine Momente und Fragmente wider. Mit den Kompositionen auf dieser Veröffentlichung beschwört Maria ein ähnliches Gefühl der Stille herauf - eine Umgebung, in der die Bewegung der Zeit selbst beleuchtet und beobachtet werden kann. Das Instrumentarium auf diesem Album ist Horns bislang ambitioniertestes: Sie ergänzt ihre gewohnte Palette aus maßgeschneiderter algorithmischer Synthese und elektronischer Bearbeitung um eine komplexe Auswahl an Perkussionsinstrumenten, Blasinstrumente, die an beiden Enden des musikalischen Spektrums spielen, sowie E-Gitarre, um so einen spiralförmigen, spektralen Klangteppich durch den gesamten Frequenzbereich zu weben. Die Perkussionistin Magdalena Meizner spielt spezielle Techniken auf dem Obertondreieck, dem Dubachi, den Pauken und dem Tam-Tam sowie auf gestimmten Weingläsern und gestrichenen Crotales. Die von Anna Petrini gespielte tieftönige Kontrabassblockflöte und das von Mattias Hallsten gespielte hochfrequente Sho fügen kontrastierende Akkordarrangements hinzu, die in strengen metrischen Strukturen eingebettet sind. Das Ensemble wird durch Mats Erlandsson vervollständigt, der auf E- und Akustikgitarren spielt und dabei von sanften Arpeggio-Figuren zu düsteren Drones und Feedback-Heulern wechselt.

2026 Repress

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

„The Age Of Everything“ ist Johnny Marrs fünftes Studioalbum. Geschrieben in London, live auf Tour an
der Ostküste Nordamerikas weiterentwickelt und in Manchester aufgenommen, fängt das Album die Energie
und die Spannungen der Stadt ein. Es ist scharf, schnell und dynamisch – voller Ideen und Möglichkeiten.
„Dies ist das Album, das am stärksten befreiend gewirkt hat. Der Titel kam mir schon früh in den
Sinn und entwickelte sich zu einer Idee, der ich mich nicht entziehen konnte. Er schien genau das Gefühl
auf den Punkt zu bringen, das meiner Meinung nach viele Menschen haben. Er umfasst alles, ist aber nicht
zwangsläufig eine negative Aussage. Die Technologie löst in unserer Kultur ein Gefühl der Überforderung
aus, doch betrachtet man die Dinge aus einem anderen Blickwinkel, eröffnet sich auch ein Gefühl von
Möglichkeiten.“ – Johnny Marr

Anlässlich des 90. Geburtstags des Komponisten Steve Reich am 3. Oktober 2026 veröffentlicht die
DG eine luxuriöse, handnummerierte und limitierte „Original Source“-Ausgabe seiner bahnbrechenden Aufnahme von „Drumming“ aus dem Jahr 1974 sowie zwei weiterer früherer Werke. Das Set erscheint im
originalen LP-Format mit authentischer Verpackung und enthält Reichs ursprüngliche Liner Notes mit
zahlreichen Fotos aus den Aufnahmesessions sowie einen ausführlichen Artikel mit Reichs ursprünglichem
Briefwechsel mit seinem DG-Produzenten.
Um die bestmögliche Klangqualität zu gewährleisten, wurden die Aufnahmen erstmals von den originalen
4-Spur-Bändern neu gemastert und geschnitten.
Diese limitierte und nummerierte Veröffentlichung erscheint auf 180-g-Vinyl in einer luxuriösen 3-LPBox-Edition mit dem Original-Cover und enthält zusätzliche Fotos sowie Faksimiles der ursprünglichen
Aufnahmeprotokolle und Bandkartons.
Die Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1960er und 1970er Jahre in
ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Mehrspurbänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA)
neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger
Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.

Hippotraktor, the progressive metal band from Belgium, combining the best of prog, groove and post-metal return with new album! Wmerging from Mechelen, Belgium, to the joy of ear-splitters and deep-feelers of post rock, Hippotraktor release their third studio album Annihilist. "A good blend between the vibes of Meridian and the technicality of Stasis." (Verheyden), that exhibits once again the band's ability to balance crushing physicality with emotional nuance, whilst pushing further into highly cultivated experimentation. For Hippotraktor, immense sonic weight coexists with remarkable clarity and depth, and through the many shifting passages and moments Annihilist becomes a journey of awe, dissolution, melancholia and rampaging power. At the heart of this album is a sense of collective inspiration. Verheyden's compositional vision provides the framework for music that is both intricate and instinctive, yet Hippotraktor's identity is forged through the dialogue between all five musicians. Although often associated with progressive metal, post-metal and sludge, Hippotraktor resist classification. Their music draws freely from multiple traditions while remaining unmistakably their own, blending rhythmic complexity, cinematic atmosphere and deeply human expression into a sound that feels both expansive and immediate. As an album Annihilist is not only gripping in every moment and turn, but their balance of the intimate and titanic feels deceptively effortless; a testament to their galvanised abilities. FOR FANS OF Psychonaut Mershuggah Dvne Vola The Ocean Hypno5e Sikasa Blackshape

Hippotraktor, the progressive metal band from Belgium, combining the best of prog, groove and post-metal return with new album! Wmerging from Mechelen, Belgium, to the joy of ear-splitters and deep-feelers of post rock, Hippotraktor release their third studio album Annihilist. "A good blend between the vibes of Meridian and the technicality of Stasis." (Verheyden), that exhibits once again the band's ability to balance crushing physicality with emotional nuance, whilst pushing further into highly cultivated experimentation. For Hippotraktor, immense sonic weight coexists with remarkable clarity and depth, and through the many shifting passages and moments Annihilist becomes a journey of awe, dissolution, melancholia and rampaging power. At the heart of this album is a sense of collective inspiration. Verheyden's compositional vision provides the framework for music that is both intricate and instinctive, yet Hippotraktor's identity is forged through the dialogue between all five musicians. Although often associated with progressive metal, post-metal and sludge, Hippotraktor resist classification. Their music draws freely from multiple traditions while remaining unmistakably their own, blending rhythmic complexity, cinematic atmosphere and deeply human expression into a sound that feels both expansive and immediate. As an album Annihilist is not only gripping in every moment and turn, but their balance of the intimate and titanic feels deceptively effortless; a testament to their galvanised abilities. FOR FANS OF Psychonaut Mershuggah Dvne Vola The Ocean Hypno5e Sikasa Blackshape

LUMINA marks a new chapter in C"mon Tigre"s evolution, where electronic music moves from the background to the core of the band"s sound. Across thirteen interconnected tracks, synthesizers, arpeggiators and club-inspired rhythms merge seamlessly with acoustic instruments such as oud, cello,vibraphone and percussion, creating an immersive, continuous listening experience. Rather than opposing tradition and innovation, LUMINA embraces their constant coexistence. The album explores how technology is reshaping not only the way music is created, but also how we experience sound, time and physical presence. Inspired by the rave as a space of collective ritual and temporary freedom, it treats repetition and rhythm as tools for communion rather than escapism, turning listening into a deeply physical experience. The music was first developed and tested live at Robot Festival (Bologna) and JazzMi (Milan) in late 2025. Those performances became a laboratory where the interaction between the music and the audienceultimately shaped the final record.

The third release on the All City imprint Gurriers, with Rustal and Chaz Moloney coming together for their first release as a duo after years of playing live. The four tracks were started during a six-day session in Chaz’s studio in Friedrichshain, Berlin, and completed together in Dublin. Drawing on a shared love of techno, Pressure Kiss moves through dub, Detroit and raw ’90s influences, with a hypnotic and experimental edge. Opening with the heavy, driving pulse of “Inertia Cycle”, the EP sets the tone for four tracks that keep things stripped back, hypnotic and moving. “Pressure Kiss”, “Born From Oak” and “Head Of The Wolf” continue the journey across two tracks per side.

Initially forming under the moniker of Black Death back in 1986, the star of Darkthrone has ascended with reverence & a degree of infamy over the course of four decades, to become one of the most notable metal bands to have emerged from Norway. Highly inspirational to a whole generation of bands, & also uncompromisingly steadfast throughout their now extensive catalogue, the long-standing duo of Fenriz & Nocturno Culto have remained dedicated to the art of the riff & forging their own path, relentlessly steering the band against the tide of trend. From the death/ doom technicality of 1991's debut masterpiece 'Soulside Journey', through the spearheading of the notorious "second wave of black metal" period of the earlier 1990s, & the integration of punk & heavy doom elements along with way, the Nordic titans have undoubtedly carved an exquisite & eclectic legacy. After a sequence of albums under the Moonfog label throughout the mid-latter 90's & into the new millennium, Darkthrone made the leap back to their original home at Peaceville, for a spectacular return in the shape of 'The Cult Is Alive', released in 2006. With the band's own newly-established Necrohell 2 studio in operation, this allowed the duo to make everything purely on their own terms & in their own time. Creative boundaries were also further removed in order to embrace some of the punk influences which had to date been more subdued, & in the process, created the beginnings of a new era for the band, first revealed in the form of lead track 'Too Old, Too Cold'.

Mit „Artifice Dissolves“ beschleunigen Dissimulator aus Montreal weit über die ohnehin schon beeindruckenden klanglichen Koordinaten von „Lower Form Resistance“ hinaus und stürzen sich kopfüber in eine zukünftige Welt, in der technologische Vormachtstellung und katastrophale Entropie im perfekten Gleichgewicht existieren. Ihr kantiger Sci-Fi-Death-Thrash hat sich zu einem noch labyrinthischeren Konstrukt entwickelt, das messerscharfe Riff-Matrizen und unbeständige rhythmische Strukturen zu einem neuralen Hack verschmilzt, der jeden Algorithmus auflöst.

„Artifice Dissolves“ treibt sich selbst voran wie ein ungebundenes künstliches Bewusstsein, das rekursiv seinen eigenen Code umschreibt, wobei jeder Song eine weitere phantastische Dimension innerhalb der bionischen Mythologie der Band enthüllt. Rasiermesserscharfe Gitarrenlinien peitschen und kreuzen sich in unmöglichen Winkeln, während die Rhythmussektion Songs wie „Alloyed“ und „Neon Metropolis“ durch Zustände unaufhörlich ansteigender Geschwindigkeit, Kollaps und Neuzusammensetzung jagt – ein unaufhaltsamer Vorwärtsdrang inmitten unbarmherziger Komplexität.

Als ehrfurchtgebietende Konvergenz aus futuristischem World-Building und hemmungsloser, technischer Aggression ist „Artifice Dissolves“ die bionische Halluzination einer Zivilisation, die in den sonnenlosen Gossen ihrer autonomen Megastädte dahinsiecht. Es sind die fiebrigen Träume einer allwissenden Gottmaschine und die bösartigen Nebenwirkungen ihrer kybernetischen Verbesserungen. Doch unter der schwindelerregenden Präzision und dem gewaltsamen Vorstoß bewahren Dissimulator das zeitlose menschliche Streben nach Ordnung und Transzendenz.

In August 2025, Lee Bains decamped to the Cherry Street Tavern in Chattanooga, Tennessee, a scene known for holding a light for collective good and personal freedom, in order to record a live album. Over that weekend, a group of anti-war activists, union workers, queer rights organizers, inclusive pastors, and people of goodwill—old-time folks—came from Tennessee, Alabama, and Georgia to gather at the Cherry Street Tavern. That weekend, that small group of people on Cherry Street, just like innumerable other groups that day and throughout history, demonstrated to each other and to the microphones, that, in 2025, the South was comprised of free people, no matter what. Free South 2025. Free South 2026. Free South forever. Lee Bains is a poet and songwriter from Birmingham, Alabama, who since 2012 has released four studio albums of what Rolling Stone calls “Southern gospel punk," and will publish his debut poetry collection Work Lunch with Hub City Press in 2026 after several of the poems were first published by the New Yorker in 2021. A cult songwriter forged in independent scenes, his work has carried him all over the U.S. and Europe, has received acclaim from the likes of Rolling Stone, The New York Times, NPR, The New Yorker, and The Guardian, and has led him to be a supporting musician for other artists like Lonnie Holley, Moor Mother, and Algiers. Lee has lent his work to support striking coal miners, immigrants’ rights groups, abortion funds, and anti-racism organizations. He has performed and read at Emory University, the University of Mississippi, Tulane University, Auburn University, and The Royal Institute of Technology (Stockholm, Sweden). He lives in Atlanta, Georgia, where he works between tours as a handyman.

Now repressed on limited edition Venus Pink vinyl – 300 copies for the world Give your retinas a workout A supergroup of sorts - Fat White Family’s Lias Saoudi, Trashmouth Records’ Luke and Liam May, and Quinn Whalley of Paranoid London and Warmduscher - Decius have travelled the earth liberating people from banality since the release of Vol. I. They’ve revealed to all those they’ve encountered just what was missing in their lives: pump without borders, pump without reason - absolute pump. Decius live sets at Berghain’s 19th birthday celebrations, Block 9’s NYC Downlow at Glastonbury and Opium Club in Vilnius have set pulses racing, and they count the likes of Dixon, 2manydjs, Honey Dijon, Mochakk, Or:La, Iggy Pop and Depeche Mode as fans. Now they offer up Decius Vol. II (Splendour & Obedience). It throbs with an almost impossible sense of potential, and expands on the lexicon of molten desire. The sound has moved into new territories, with tastes of house, disco and techno, all with an underlying base note of acid on tracks such as the slippery night cruise intensity of ‘Birth of A Smirk’, where Colonel Abrams gets his nipples tortured. ‘Queen of 14th St’ is all watersports and Cybotron force from Detroit via Deptford. ‘Walking In The Heat’ struts like a sunburnt and horny Kraftwerk, while ‘Ghent’ is purest uncut ’88 acid. Vol. II is the art of seduction in damp rooms painted black. Keep hydrated from whatever source is available. Be your own pleasure centre. Vol. II is veritable selection box of booty bumps and illegal highs made at night for the night and beyond. This is music that takes pride in its walk of shame.

XKatedral ist stolz darauf, ein neues Album in voller Länge von Label-Mitbegründerin Maria W. Horn zu präsentieren. ,Melting Pillars of Snow" ist eine Sammlung neuer Kompositionen der renommierten schwedischen Komponistin, geschrieben für Kontrabassblockflöte, Sho, Percussion, E-Gitarre, Gesang und Elektronik, gespielt von Horn zusammen mit einem Kammerensemble bestehend aus Anna Petrini, Mattias Hallsten, Magdalena Meitzner und Mats Erlandsson. Das Album enthält außerdem eine Erzählung von Horn sowie einen Gastauftritt von Michael Gira auf der ersten Single ,Scythe of Saturn". Für ,Melting Pillars of Snow" ließ sich Maria von W. G. Sebalds Roman ,Die Ringe des Saturn" inspirieren, einer poetischen Reflexion, die einem namenlosen Erzähler folgt, der an der Küste von Suffolk in England umherwandert. Während sich die Landschaft allmählich verändert, thematisiert der Text auf vielfältige Weise den Lauf der Zeit und die Distanz zwischen Vergangenheit, Gegenwart und Zukunft und spiegelt dabei sowohl weitreichende zeitliche Maßstäbe wie die Zyklen der Jahreszeiten und die tiefe historische Zeit als auch mikroskopisch kleine Momente und Fragmente wider. Mit den Kompositionen auf dieser Veröffentlichung beschwört Maria ein ähnliches Gefühl der Stille herauf - eine Umgebung, in der die Bewegung der Zeit selbst beleuchtet und beobachtet werden kann. Das Instrumentarium auf diesem Album ist Horns bislang ambitioniertestes: Sie ergänzt ihre gewohnte Palette aus maßgeschneiderter algorithmischer Synthese und elektronischer Bearbeitung um eine komplexe Auswahl an Perkussionsinstrumenten, Blasinstrumente, die an beiden Enden des musikalischen Spektrums spielen, sowie E-Gitarre, um so einen spiralförmigen, spektralen Klangteppich durch den gesamten Frequenzbereich zu weben. Die Perkussionistin Magdalena Meizner spielt spezielle Techniken auf dem Obertondreieck, dem Dubachi, den Pauken und dem Tam-Tam sowie auf gestimmten Weingläsern und gestrichenen Crotales. Die von Anna Petrini gespielte tieftönige Kontrabassblockflöte und das von Mattias Hallsten gespielte hochfrequente Sho fügen kontrastierende Akkordarrangements hinzu, die in strengen metrischen Strukturen eingebettet sind. Das Ensemble wird durch Mats Erlandsson vervollständigt, der auf E- und Akustikgitarren spielt und dabei von sanften Arpeggio-Figuren zu düsteren Drones und Feedback-Heulern wechselt.

SPF 50 returns to Bliss Point with Ett Inre Rum, a collection of pulsing, immersive techno, rounded out with a remix from renowned club synthesist Erik Luebs.

Recently enamored with the psychoacoustic power of drone, Ett Inre Rum finds SPF 50 pushing his sound deeper, heavier, and more psychedelic. With Ett Inre Rum, he explores sonics that connect internal states to the external spaces we inhabit, patiently building energy until the walls are stretching, the room is heaving, and the lines between inner and outer are thoroughly blurred.

Drawing inspiration from the natural world and culled from over a year of peak time live sets, Ett Inre Rum eschews dance floor tropes for a refreshing minimalism: club tracks as enveloping sonic environments, breathing deep as they propel forward through atmospheric washes, layered and manipulated to achieve peak emotional resonance.

GodSexy (the best unused track title in Prince’s sadly now dormant Future Titles notebook) throbs and bounces in all the right places. Positively sprightly whilst also oozing depth, it unveils itself layer after beautiful layer. In true Howells style, it sits alone and imperious in a world above and beyond mere genres, sonically cerebral yet simultaneously 100% dancefloor ready. Urgently uplifting, inspirationally intense.

Shut Down is House Heaven meets Danny Does Disco in characteristically off-kilter (and peerless) fashion. Driven by a twisted percussive loop and a seductive vocal sample, aided and abetted by hypnotically funky guitar licks and lush chords that duck and dive like the (original) Artful Dodger, it’s all about the tension between analogue evangelism and digital futurism.

Hotrocks, your bonus vinyl only offering, will have you heading through the door marked ‘Magic Black Plastic’ at a rate of techno-infused knots. This is serious heads down business, a rave monster, Joey Beltram and Patrick Cowley’s mystery lovechild. Blistering, breathless, bounteous, bloomin’ brilliant.

DJ Support: Mochakk, Joseph Capriati, Jamie Jones, Purple Disco Machine, Groove Armada, Marco Carola ,keinemusik, Adrian Roman, Bill Brewster, Rino, Ruben Mandolini, Terry Farley, Nicolas Masseyeff, Echonomist, Robosonic, Nuno Dos Santos, diskJokke, Dan Marciano Jody Wisternoff / Way Out West, Eelke Kleijn, Henry Saiz, Digitalism, Sister Bliss / Faithless, Innellea, Adriatique, Judge Jules, Sam Divine, TSHA, Simone Vitullo, Joris Voorn, Tommie Sunshine, Fahlberg, Stijn D'hont / DJ Neon

D Stone is a rising force in Amsterdam’s electronic music scene, blending live instruments with electronic production to create his unique take on house music. His sound bridges true house to proto-disco and deeper percussive elements, as showcased in his release Total Unison. A passionate DJ and producer, D Stone crafts infectious tracks by combining samples with live instruments, driving dance floors with his grooves. Born into a musical family, D Stone was immersed in sound from an early age. His father’s influence exposed him to diverse musical styles, sparking his lifelong curiosity. He began playing piano at eight, learned guitar at twelve, and by fifteen discovered electronic music, exploring house as a DJ. A year later, he ventured into production, gaining recognition and landing his first gigs. Inspired by 70s and 80s disco, funk, garage, and 90s tech house, his music blends energy, groove, and soul. With his foundation in live instruments and his forward-thinking approach to electronic music, D Stone strives to create more than tracks—he’s shaping moments that linger in the minds of his listeners.

Envision remixed by DJ & producer Julya Karma Emerging from Brooklyn’s underground and now rooted in Berlin, her practice isn’t about fitting into a lane, it’s about finding what is alive and letting it shape the moment.

Across diverse stages and platforms from Coachella and Lost Village to Berghain, Cercle, Space, The Brooklyn Mirage, DGTL, Time Warp, Audio Obscura, Tomorrowland, and within the orbit of Innervisions, Julya’s performances reflect a commitment to exploration over formula, earning recognition from artists like Laurent Garnier, Dixon, Âme, Adriatique, Rüfüs Du Sol, and Sven Väth.

Scott Monteith makes his debut on Berlin's own Bright Sounds under his DEADBEAT alias, bringing three unreleased dub tracks steeped in the deep, cavernous low end he's known for. A pioneer of the Canadian dub techno scene, DEADBEAT has spent over two decades shaping the genre's darker, more spacious corners, and this EP marks a fitting first outing for the label. Pressed in a strictly limited deep blue vinyl edition, it's a must for collectors and dub heads alike.

BLACK VINYL -> Rare acid techno beauty !! Only a couple of copies available. Import from UK from the label of Chris Liberator !!

Flug brings his singular vision to Backspin Records with 'From My Soul', a 7-track EP that marks a powerful new chapter for both artist and label, rounded out by a remix from Kashpitzky. Moving between deep emotional techno, raw percussive functionality and high intensity, the release showcases Flug's signature precision and narrative depth while keeping things classy and never falling for overused tropes. Kashpitzky completes the package with a remix that reinterprets the source material from a darker, more straight-forward angle. ??

Opening with the title track 'From My Soul', Flug sets off on an epic 8-minute journey built on reverberating melodic layers, shimmering chord pads and a strong low endthat unfolds slowly and deliberately, balancing emotional weight with a hypnotic drive. 'Make It Loud' follows with a more stripped, functional direction, where warm low-end energy, minimal percussion and reverb-drenched sine wave synth hits create a tight, circular groove anchored by a subtle but sinister vocal presence. ??

On the flip side, 'Human Instinct' turns the energy more direct and physical, driven by a saturated kick drum, looping synth motifs and sparse vocal cuts that heighten tension without disrupting the flow. 'The Awakening' expands the emotional scope with a deep kick and tom-driven bassline, expansive droning pads and dragging percussion that build a rich, cinematic atmosphere. Kashpitzky's remix reimagines the original at a faster BPM with distorted chord stabs, off-grid hi-hats and layered synth work creating a tense, industrial atmosphere that breaks into a spacious breakdown before dropping back into a stripped,high-impact groove. ??

With the 'From My Soul' EP, Flug marks a strong first statement on Regal's Backspin Records, delivering a cohesive body of work that balances depth, emotion and dancefloor utility, reinforcing the label's dedication to innovative techno.

2026 Repress

SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.

Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.

The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.

Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.

Long time label collaborator and dub maestro Havantepe is back on Berg Audio with yet another journey into the deeper, more atmospheric shades of techno, unfolding across four timeless tracks. This release marks the highly awaited come back of the imprint’s “Monument” series, featuring a full cover designed by Juli Jah.

The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.

Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev

Remastered and cut to vinyl by Kassian Troyer @ D&M. Cover art by Jim Kühnel based on a photograph by Uwe Zahn.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic. Album opener "Low Times" sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of "After All", the haunting ambience and buried heartbeat throb of "Soft Collapse", and the noirish atmospherics of "Blackout Dust", which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on "Bombed Suburbs", where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove. Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track "Almost a Structure", obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. "Second album from electronic producer Michael Fiedler's GHOST DUBS project. "Follows up from the highly-acclaimed 'Implosion' album with The Bug from 2025. "Debut album 'Damaged' sold out its three initial pressings and has just been repressed "Michael Fiedler recently scored 'Sound of Falling' which won a Cannes award in 2025 and made the shortlist for an Oscar, too.

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.

The first GTG X release brings together some of the most sought-after tracks on Grab The Groove, previously available only digitally. The four artists featured on the record share one thing in common: a puristic approach to techno, each translating it through their own distinct perspective.

First Principles marks the debut release on Groove Disciples Series, a new DJ-focused vinyl catalogue from 80147, created as a natural extension of the Groove Disciples Podcast. While the podcast has connected DJs and selectors from local scenes across Europe through guest mixes and conversations, the new series continues that mission through carefully curated vinyl releases from artists who are both DJs and producers.

Opening the catalogue, Bloody G delivers four dancefloor-oriented cuts that explore the space between deep house and Detroit-inspired techno edges. From the melodic and melanchonic "Message in the Sound" to the driving "Regroup Reclaim Rebuild" and "Machine Funk" with a reinterpretation by Southbound Sounds, the EP is built with club functionality at its core, favouring groove, analogue warmth and musical restraint over passing trends.

First Principles establishes the philosophy behind the series: music first, DJs at the centre, and vinyl as the medium that continues to connect local clubbing scenes through music, collaboration and community.

Four atmospheric dub techno/house cuts from SBWT (Sub Basics & Witch Trials) on the Finnish Elektorni imprint.

20 Years into the future, we return to you with the world’s illest hard drum n bass beats. In 2006, we released Counterstrike, Identity (BTK Spleen), Corrupt Souls, and Lethal & Khanage, making a 4 continent super weapon of drum n bass.
We arrive in 2026 with the hottest new talent - Rawbreaker, Anika D, paired with legends such as Jaise, Submerged, and inimitable voice of Flowdan. Disciples of the Unreal II is our return to wax also, with a 2x12" mastered hot for the DJs and distributed worldwide.
Each artist contributes a piece of the hard sound in their own fashion - from the roughneck beats of Medium, Rawbreaker, Submerged, and Scartat, to the Sinthetix-fueled neurofunk of Code2 and Anika D, and a foray into industrial techno from Slave to Society’s rework, and landing in the world of original Jungle sound with Jaise. From every corner - we come correct with the drum n bass intellect.