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Romanian groove technician SEPP lands on _NRV with a trio of high-powered, floor-primed cuts. 'Feeling Ma Bass' opens up with weighty low-end pressure and a hypnotic pulse that locks you in early. 'Body Language' twists with crisp percussion and a woozy sense of movement, keeping tension tight throughout. 'Do You Love Me’ dips into moodier territory, with dusty textures and a vocal loop that cuts just enough to keep the floor leaning in.

Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.

The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.

Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.

Robsoul Recordings launches its 2025 campaign in style with the release of the ‘Make Love' EP, an impressive label debut from Italian producer and MPC virtuoso, Bress Underground.Following a strong 2024, which saw him release on GLB Dom, SNATCH!, Jackies Music, Special Grooves, and Slothboogie, as well as delivering unforgettable sets at iconic venues such as Sisyphos and NYC Downlow (Glastonbury), Bress Underground rolls out a sumptuous four-track selection of impeccable House music.“The EP was created by mixing a variety of production techniques, including the MPC, sampling, and Ableton Live,” explains Bress Underground, real name Andrea. “These were all projects I'd started and, for whatever reason, remained incomplete for some time. Each track started with a specific mood but evolved into something new as I finished them.”A love for all shades of House is evident throughout the EP, from the bumping horns and infectious shuffle of opener ‘Chick House' to the smooth, chiming keys and soulful tones of fellow A-side cut ‘Keep On'. On the flip ‘I Don't Pray' delivers a powerful, sermon-like groove whilst title track, ‘Make Love,' closes the release with its timeless 303 energy and undeniable dancefloor appeal. As Bress Underground himself puts it, this EP is “the perfect musical omelette,” blending textures, moods, and influences into a flavorful collection of House tracks.

Der britische Synth-Zauberer James Holden und der polnische Klarinetten-Guru Waclaw Zimpel (Saagara, Shackleton) setzen ihre fruchtbare Zusammenarbeit mit dem glückseligen Eskapismus ihres grossartigen Albumdebüts fort: "The Universe Will Take Care Of You" ist ein zutiefst emotionales, warmes und flauschiges Vergnügen. Reiche Texturen und eine betörende Klangpalette bewegen sich frei zwischen idyllischen Pastoralen, eindringlichen Arpeggios und schimmernder Euphorie. Die spielerisch-experimentelle Herangehensweise von Krautrock-Vorfahren wie Harmonia, Cluster oder Eno & Fripp wird aufgegriffen, um ihren tiefsten Improvisationsdrang zu erforschen. Das Ergebnis ist die freudige Konvergenz zweier gleichgesinnter Meister ihres Fachs, die Violine, Schlagzeug, Lap-Steel-Gitarre und die indische Doppelrohr-Algoza-Flöte mit gewohnt-modularem Synthesizer und Klarinette verbinden.
180g White Vinyl LP.

Nonverbal Language unveils its third chapter with CVRDWELL at the helm, delivering two originals shaped by emotional depth and precise sound design, backed by remixes from Casual Treatment and Mathys Lenne.

"The Message" blends groovy low-end, lush textures, and melancholic energy into a powerful statement for the dancefloor. Casual Treatment (Hayes, Token, Mord) transforms it into a deeper, hypnotic techno voyage.

"Haunted" descends into eerie, cinematic territory-slow, brooding, and charged with tension. Mathys Lenne (Mord, Hayes, Float) amplifies the unease with a remix that's both refined and fearsome

First solo release from the label owner Viels that delivers four hypnotic, peaktime and raw techno tracks describing his style with accurate textures and the presence of unmistakable mental sounds.

Following the release of Drop Nineteens' first album in 30 years, Hard Light and the reissue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens' 1991. This LP comprises the band's first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adom these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991'S songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

Front man Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature. "Learning," he replies. "This whole record is about learning. Opening your eyes to new things, going outside of your comfort zone, and learning to grow into something new."The album's unique blend of musical and spiritual growth is immediately audible on the opening track, "Super Natural," a late-summer idyll of intertwined guitar parts and laidback vocals. Listening to how the leisurely "Nightlight Girl" melts into a more propulsive selection like "Breeze," and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are infuenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. This infux of new infuences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the band's best album to date. Good Nature comes from a place of calm and contentment, nurtured by looking inward.

For their third album on Bongo Joe, Madalitso Band takes a new direction.

After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio — without ever compromising their signature style or energy.

Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that’s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles.

Always guided by instinct, the band reveals a more intimate and narrative side of their universe — full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

A cosmic fusion of deep funk, interstellar jazz, and avant-garde soundscapes, On Jupiter stands as one of Sun Ra"s most iconic releases. Recorded in 1979 during a prolific period at Variety Arts Studios in New York, this album captures the Arkestra at the height of their creative powers, blending futuristic improvisation with infectious rhythms and otherworldly textures.

For their third album on Bongo Joe, Madalitso Band takes a new direction. After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio - without ever compromising their signature style or energy. Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that"s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles. Always guided by instinct, the band reveals a more intimate and narrative side of their universe - full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

This is what you get when an emcee/producer is fed on a diet of abstract hip-hop, Southeast Asian samples, and Taoist folklore. Together with the Clementi Sound Appreciation Club (a five-piece band of up-and-coming musicians schooled in jazz from the local scene in Singapore), Mary Sue melts samples with live instrumentation on 'Porcelain Shield, Paper Sword.' At the core of the album is the tale of a time-traveling oracle, struggling to find meaning in the modern world-where ancient wisdom feels fragile, and truth is ever-shifting. A reinterpretation of idioms shapes its journey, where spiritual pursuits feel performative, and where the weight of the past clashes with an uncertain future. The music mirrors this tension: phrases of Gamelan music dissolve into smoky brass, spectral melodies unravel over off-kilter drums, and time bends through layered textures. 'Porcelain Shield, Paper Sword' is both a reckoning and a dream, where echoes of the past find new life in the chaos of now. A porcelain shield shatters on impact; a paper sword folds before it cuts. It's about the constant, fragile push-and-pull between aesthetics and money, tradition and progress, meaning and spectacle. "Like the oracle, we're all stuck in a world where spiritual longing gets tangled up with consumerism, where authenticity is blurred by performance, and where finding real meaning feels shakier than ever," rapper and producer Mary Sue explains. "'Porcelain Shield, Paper Sword' lives in that field of tension. The album drifts between beauty and collapse, truth and illusion, and past and present, without ever landing on solid ground."

The Current Thing EP, first release in a series of three, marks the debut of 'Confusion is next to Happiness' (CINTH); a record label and party series unbound by restraint and defined by complete freedom to bridge idiosyncratic and divergent sounds into the world.
With home base at Sameheads and appearances across Germany with Säule in Berghain, Golden Pudel Club in Hamburg, and PRXXXT in Leipzig, CINTH is an emerging powerhouse for all things twisted and freaky.
Duo Lucas Brell and Marvin Uhde, known as Kinzua, deliver a three track EP featuring minimalist yet richly textured compositions with haunting ambience capturing the edge between intensity and transcendence. The trance-inducing atmosphere and subtle modulations will pull you deep into a meditative wormhole.

Glossy Mistakes Reissues Resonance 001, a Proto-House & Trance Milestone from Belgium from 1992
Glossy Mistakes is proud to announce the reissue of Resonance 001, the groundbreaking debut EP by Belgian producer Fabrice Lagrange, created in collaboration with Frank Beekman and originally released in 1992. Long overlooked, this forward-thinking record captures a pivotal moment in the early European evolution of house and trance-melding minimalism, emotion, and club-oriented experimentation into a sound that remains strikingly fresh over three decades later.
Resonance 001 stands among the earliest European records to explore the fertile intersection of hypnotic house rhythms and atmospheric trance. The A-side, featuring The Awakening Earth and Pure Self, channels a stripped-down yet euphoric energy-deeply inspired by the spirit of Detroit techno but undeniably forward-looking. As Frank Beekman recalls: "This record was recorded in a very simple studio, with minimal gear, inspired by the Detroit techno sound."
On the B-side, the EP ventures further into experimental territory. Paris By Night offers a dreamy, tech-tinged house excursion, leading into Redondanz, a meditative downtempo closer that perfectly encapsulates the release's subtle charm.
The enduring appeal of Resonance 001 lies in its restraint: crafted with minimal tools, it delivers maximum emotional depth. It seamlessly blends hazy trance atmospheres, early house grooves, and ambient-inflected textures, capturing the open-minded, exploratory ethos of early '90s electronic music.
Now remastered for vinyl by Wouter Brandenburg, Resonance 001 returns in pristine form-faithfully preserving its original character while bringing new clarity to its timeless sound.

Reissued vinyl of 2023 album HELLMODE.Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock's music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023_a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock's appropriately titled, anarchic record, HELLMODE. "To me, the album feels like the chaos of being alive right now," Rosenstock says of HELLMODE. "We're experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We're just feeling way too much all at once!" But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in HELLMODE, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99. Vinyl is transparent black ice coloured!

Crafted entirely on an analog monophonic synthesizer with no overdubs, Pièces Monophoniques is a tribute to simplicity in an era of limitless digital possibilities. Since his debut album, Music For Prophet (Les Disques du Festival Permanent, 2017), Majorca-born composer Marc Melià, now a long-time resident of Brussels, has been redefining the contours of electronic music through a minimalist, reductionist approach. Much like a solitary hike through the vastness of mountains, where one carries only the essentials, Melià’s work invites listeners on a journey stripped of excess, focusing instead on the purity of sound and intention.
While some have dismissed monophonic music as overly simplistic, others have embraced its distinct charm. Historical records, such as those by Johannes Quasten, reveal that early Church leaders were drawn to monophonic music because it resonated with the era's cosmological beliefs, highlighting the harmony and unity of all creation. In an age of digital abundance, Marc Melià deliberately embraces constraint, crafting an album that thrives within a limited palette of choices. Yet, from these self-imposed boundaries emerges a stunning universe, brimming with rich textures and elegant harmonies. For his debut album, Melià worked exclusively with a Sequential Prophet. With Pièces Monophoniques, his third LP, he returns armed solely with an analog monophonic synthesizer and handcrafted MIDI sequences etched directly onto a single stereo track. These recordings seek to uncover beauty within the boundaries of limitations and simplicity, rejecting any embellishments that are not essential. Melià presents the bare skeleton of music, highlighting the power of absence and silence as creative forces. Like the hidden mass of an iceberg, what is not heard becomes as significant as what is heard.
The album navigates the boundary where the quest for an uninhibited emotional response intersects with the mechanical sounds generated by synthesizer circuitry. Despite being a collection of beatless tracks, a pulse occasionally surfaces, like in the closing piece, "224 Steps. A sharp sequence blended with multiple delays and reverbs creates the vaporous celestial specter of multiple voices in "Illusions of Polyphony", while "Échoes et Fantasies" conjures the illusion of dual harmony. The expansive reverbs and silences between the euphoric synth phrases in "Overture" transport us to an imaginary magestic landscape shaped out of an electric field. "Resonances," a one-note drone-like sequence, embodies the album's aims as a series of resonances created with the synth filter emerge from the fundamental note.
"Pièces Monophoniques," aims to contribute to a tradition that dates back to the dawn of humanity. After all, there is no denying that the earliest music crafted by humanity was monophonic, from the soothing lullabies sung to newborns to Gregorian chants, traditional labor songs, and the repertoire of solo compositions by countless composers.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”

Polar Bear's groundbreaking debut 'Dim Lit' (2004) is being released on vinyl for the first time, marking over two decades since its arrival reshaped the UK jazz landscape

Led by drummer and composer Seb Rochford, the album introduced a band whose fearless approach to improvisation, rhythm, and texture would go on to influence a generation. Blending raw energy with intricate composition, 'Dim Lit' set the blueprint for Polar Bear's signature sound - expansive, unpredictable, and entirely their own.

From the outset, 'Dim Lit' positioned Polar Bear as one of the most forward-thinking groups of their time. The album bridged jazz, electronic elements, and avant- garde sensibilities, carving out a new space in the contemporary music scene. The interplay between Rochford, saxophonists Pete Wareham and Mark Lockheart, bassist Tom Herbert, and electronics specialist Leafcutter John created a dynamic, shape-shifting sound that blurred genre boundaries. With its hypnotic grooves, explosive improvisation, and unexpected sonic detours, 'Dim Lit' remains a vital document of a band redefining what jazz could be.

This first- ever vinyl release offers a new perspective on 'Dim Lit's deep, layered soundscapes, giving longtime fans and new listeners alike the chance to experience the album in a fresh, immersive format. Edition Records now represents all digital rights to the Polar Bear catalogue, ensuring the band's visionary work continues to reach audiences worldwide.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Each track a misty echo, carved in rhythm and space. Octal Industries drifts back to Kontakt with a solo offering - three deep, dub-soaked journeys where texture and tone intertwine in quiet elegance. For those who listen between the lines.

What do you get if you put two synthesizer sorcerers in the same room? In the case of Skatebård and Lauer, the answer is Trollkraft. Between them, the Norwegian-German partnership have hundreds of releases, run record labels and have wowed crowds across the globe. In short, the two tracks of Trollkraft are the product of some serious electronic talent. Rich and textured drum layers give way to strings and a vibrating bass for the title piece. Twists and turns abound, elements of disco and house brush shoulders with indie and italo as the pair tear down genre divisions. A 90s heyday influence that runs through both offerings, with “One Night In Geilo” taking its cue from house rhythms and a two-stepping melody adopted from that emblematic decade. Reimagining rave in their own effervescent and playful style, these strobe and fog veterans serve up a fat slice of glow-stick elation. Strings weave high into the dawning sky, bongos and toms reveling next incandescent synthines with just a touch of trance thrown in to add spice to this heady and euphoric mix.

Two tracks from two true masters.

STAR CREATURE's Global Caress series started this year off with a bang with newcomer ARSENE's "JACK SHIT" 7" selling out almost immediately. The followup here might just do the same… Another gruesome twosome of hard hitting, left field, electro acid. The half-Finnish, half-Estonian duo LLL add a distinctly Baltic outsider edge to the classic combo of Chicago jackin' house meets UK sound system culture. The fellahs tap an arsenal of original gear rescued and revived over the years to create hyper-saturated textures, thuggish rhythmic beats, squelchy acidic synths and mischievous microphone miscellany

E-bony joins the INDUSTRIAS MEKANIKAS family to present DIGITAL DAWN, an album that defines his identity as an artist. Twelve tracks in which electro and techno intertwine to create a unique and personal sound. A sonic manifesto composed of twelve tracks that explore the darkest textures and the most hypnotic rhythms of underground electronic.

In this work, E-bony is not alone. The talent of Noamm is woven into four of the tracks, adding an additional layer of complexity and experimentation. The collaboration between both artists creates a unique synergy, elevating the DIGITAL DAWN proposal to a new level.

DIGITAL DAWN is released in 2×12″ format, a format that is still preferred by DJs and lovers of high-quality sound, guaranteeing a quality and sound pressure that will explode on the dance floor.

In Marking A Boundary With The Turning Point, Ard Bit and Radboud Mens explore the tension between stasis and movement. Operating within the realm of drone and electroacoustic music, they construct a sonic landscape where sustained tones and microscopic events constantly shape and reshape each other. What initially appears static reveals itself to be rich with detail: tiny acoustic shifts breathe life into apparent stillness, inviting focused and attentive listening. The album emerged from a process where sound research, improvisation, and sound design merge. Self-built instruments, the search for timbre and texture, and recordings of the learning process itself form the foundation of these compositions. Rather than following a traditional musical structure, the result is a sonic field in which the minimal continually transforms, depending on the listener's perspective. Ard Bit (Ard Janssen) is a composer, sound artist, and field recordist based in Rotterdam, trained at the Institute of Sonology in The Hague. His work moves between improvisation and system-based composition, exploring the space between ambient, drone, and sound art. Radboud Mens is a sound artist with a decades-long practice grounded in minimalism, acoustic subtlety, and physical resonance. His work focuses on the perception of sound, the materiality of audio, and the creation of spatial listening experiences. Together, they present a layered and handcrafted album that doesn't narrate but questions. Marking A Boundary With The Turning Point is not a boundary, it's an invitation to listen beyond expectation.

o encapsulate the themes. “Aseurai means around you in the atmosphere, hard to reach, fading away,” Choi says. “It’s a poetic expression. You wouldn’t say it in normal conversation, but I like that.”

Following the four-piece band’s 2024 self-titled EP, Aseurai adds disco and city-pop influences while staying true to dream-pop roots. While Phoebe Rings was originally a solo project of Choi’s, Aseurai marks a shift with contributing songwriting credits from the whole band. The four musicians cut their teeth working on other notable NZ projects such as Princess Chelsea, Fazerdaze, Tiny Ruins, AC Freazy,, Sea Views and Lucky Boy.

With a more ambitious collection of instruments, Choi says this album heralds the start of true collaboration: “I feel more precious about this LP because it includes everyone’s gems.” Guitar/synthesist Simeon Kavanagh-Vincent spearheads unexpected arrangements, with bold fuzzy guitar textures, to spice up the mix. Benjamin Locke adds maturity to the lyrics, paired with perfectionist bass lines. And drummer Alex Freer’s slick production soars Aseurai to diverse and synergetic heights. The broth is richer with more cooks in the kitchen, and the brewing of textures creates a distinct ‘Phoebe Rings’ sound.

If the EP was spacey, then Aseurai settles on earth, rooted in tangible moments. “Without getting too gloomy, it’s a weird world out there. A lot has changed in the world since the EP came out,” says Kavanagh-Vincent on this transformation. The album delves into hope and longing across all possibilities, and this exploration of holding on and letting go is organically threaded throughout. Across ten songs, Phoebe Ring’s storytelling ranges from tongue-in-cheek musings on gentrification to tender autobiographical memories.

아스라이 흩어지는 하늘의 별이 (May the falling light of faraway stars) / 그대의 손 끝에 닿아 숨이 돼주길 (Reach your fingertips and let you breathe),” Choi sings in the title track “Aseurai.” Imagined as a breezy track inspired by a 90’s Korean pop band, Choi discovered, when fleshing out the lyrics, that it was about yearning for people she couldn’t see anymore. In the old-school disco track, “Get Up,” Locke addresses struggles with mental health in a Matrix-inspired driven mantra:  ‘Just get up / Just get up.’ The groove persists with ‘Fading Star,” a quirky ballad filled with steely jazz/rock guitar solos dedicated to a suburban aging musician. Kavanagh-Vincent’s lead single ‘Drifting’ is an unrequited celestial love song with bouncing bass and playful synths.

The band wrote, produced, and engineered the album across studios and band members’ homes in 2023/2024 in Tāmaki Makaurau (Auckland). It features mixing/mix production by local legend Jeremy Toy (Bic Runga, Aaradnha, Princess Chelsea) and mastering by Kelly Hibbert. With Aseurai, Phoebe Rings mark out a brilliant new constellation in their sky, bringing their individual compositions to the fore whilst seamlessly threading them into one celestial body - launching skyward on Carpark Records in June 2025.

Luv Shack Records serves up another irresistible batch of sonic treats with Disco Biscuits 6, blending sun-drenched disco vibes, hypnotic grooves, and deep-dive dancefloor goodness.
Kicking things off, Das Komplex delivers the cheekily titled Pajda Banana, a lush and sprawling jam brimming with cosmic textures and low-slung funk. Ubre Blanca follows with Renzo, a synth-driven trip balancing cinematic tension with pure Italo heat.
On the flip side, Gregory (AT) teams up with Alexander Wirth for Peaks, a shimmering House excursion with soaring melodies and a pulse built for late-night euphoria. Closing out the pack, Kelton Prima’s Strawberry Cream oozes with silky basslines and irresistible groove — the perfect sugar rush for discerning selectors.
From deep disco dreamscapes to peak-time party weapons, Disco Biscuits 6 has all the flavor you need.

ALDORANDE is a band of five groove adventurers, led by their founder and captain Virgile Raffaëlli, who are pushing the boundaries of music with boundless passion and unparalleled instrumental mastery. After two critically acclaimed albums, the group returns with Trois, the final chapter of their cosmic trilogy, recorded on tape at a prestigious Parisian studio.

Trois is an epic album, driven by bold instrumental explorations and waves of celestial choirs. Drawing inspiration from the 70s fusion movement, it honors the genre’s masters while adding a unique, contemporary twist. The galactic textures and sophisticated arrangements transport the listener on an unforgettable astral journey.

Once again, Favorite Recordings has poured its heart and soul into this album. Every note, every arrangement has been meticulously crafted to capture the essence of that era, with a relentless drive to ensure that every step of production and recording stays as true as possible to the genre’s iconic references.

On drums, Mathieu Edouard lays down a killer groove that leaves no one indifferent. Florian Pellissier, on keyboards, unfolds an interstellar sound palette with a spectacular collection of instruments: Fender Rhodes, Yamaha CP-70B, Moog Minimoog Model D, Sequential Prophet 5, ARP Solina String Ensemble, Roland Juno 106, Roland Jupiter 8, and Oberheim OB-8. On percussion, Erwan Loeffel scatters a jungle of intoxicating rhythms. Laurent Guillet, on guitar, fires off hypnotic, irresistible riffs, while Virgile Raffaëlli, on bass, anchors the entire experience with deep, melodic bass lines that give the band a captivating and unique dimension.

Get ready to take off with ALDORANDE and their album Trois, which promises to take you beyond the stars.

On June 6th, Death In Vegas return with new album ‘Death Mask’, where disintegration, overload and total sonic immersion tell a personal tale. With dirty circuitry and rough-hewn textures at the fore, this is gritty, unpolished techno; an audio outlier that’s full of personality, and a bold artistic statement. It’s closer in DNA to the grainy growl of sunn O))), or the searing intensity of Underground Resistance at their fiercest, and as far from generic influencer business as you could possibly get.

“I’ve been soaking in Ramleh’s ‘Hole In the Heart’, the machine funk of Terrence Dixon’s Population One, Jamal Moss’ psychedelic techno jams, the stunning minimalism of Mika Vanio’s Ø and Panasonic, the layered drones of LOOP, and drowning in the acid of TM 404”

Broader inspirations are weaved into the album’s fabric too; from his Thameside Metal Box studio and evocations of nautical ghosts, to lamentations for a broken world, to memories of a youthful Detroit pilgrimage, and the innocent fraternity of rave euphoria, there’s a lot going on, acting as a chronicle of moments, and locations.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Life and Death is thrilled to unleash the electrifying debut EP from rising Irish producer Cromby, marking a bold new chapter on DJ Tennis’ genre-defying label. Packed with highvoltage energy, emotional depth, and razor-sharp house production. At its heart is “I’m Coming Back”—a radiant, hands-in-the-air anthem co-crafted with NiKi K. The track also receives a powerful rework from the enigmatic Known Artist, who transforms it into a hypnotic late-night weapon—fusing atmospheric textures with raw emotional drive. Cromby finally concludes with “One More Time”— a colorful house thumper of pure peak time energy, right on cue for the summer festival season ahead.

Recycled vinyl (random color mix)
Recycled textured paper jackets offset printed full CMYK
Recycled paper obi strip
Recycled felt paper insert printed full CMYK
Edition of 300

Limited edition of 100 items, hand-stamped and individually numbered with photographic insert.

After the feature of steifl on mental concept 161616, now comes a full length edit by the dude from the Netherlands. Acid, breaks and wonky textures for the heads. Includes a download code for bandcamp!

We’re hyped to welcome back the French producer Carriego, who already made waves with a standout EP on our sister label Cosa Vostra. This time, he lands on Griffé with a four-tracker that dives deep into stripped-back grooves, rhythmic precision, and textured soundscapes.

True to his style, Carriego merges Detroit roots with early 2000s minimal vibes—tight drum machine programming, detailed sound design, and a strong focus on mood and arrangement. The drums hit with intent, and every element feels built for purpose.

The EP unfolds like a proper journey: Hazard sets the tone with tension and space—ideal for an opening move. The Bridge follows up with drive and pressure, perfect for peak-time intensity. Curtain Call brings in a hypnotic, late-night energy, subtly nodding to the Time Passages spirit—refined, trippy, and deep. Then comes Seems Like to close the ride—more introspective, with a dub techno edge that lets everything breathe again.

Techno, minimal, electro, dub—Carriego connects the dots without forcing it. Just functional, thoughtful club music that works on multiple levels.

Returning to an aphotic minefield of sound – Seismic Records is back with its third release, Drum Ring, crafted by Norwegian producer and Ute Records co-founder Ekkel. Emerging from the forests of Nordic electronic heritage, Teo Bachs – aka Ekkel – channels the raw energy of ’90s progressive sounds into his mind-bending productions. From the studio, his signature blend of breaks and intricate percussion create soundscapes that are as cerebral as they are propulsive. Titled Drum Ring, the EP captures the feeling of a complete mental trip through a narrative of tension, ancient textures, and enchanting melodies.

Poised with a sense of urgency, the A-side unfolds with a neatly rolling rhythm. Hradec Fog Fever builds a controlled frenzy of percussive elements, with layers stripping in and out, consistently driving the track forward. Slipping into A2, Owl Foot casts a sonic mist, a haze that tentatively creeps forward, flickering between atmospheric dips and shadowy contours. Vocal-cut whispers transcend through the soundscape, shy yet impactful, drawing you closer. It’s a tender introduction to a minimalist, dark progressive journey – a delicate balance of intrigue and mystery, where each sound lingers like a secret waiting to be discovered.

The B-Side strikes with poignant, powerful drum kicks that reverberate through layers of distortion. Drum Ring displays echoes of tension and unease, building a restless energy that urges deeper introspection. Ancient, enchanting tones weave through the chaos, grounding the frenetic soundwaves in something timeless and mystical. Sealing the EP, Endphase begins with faint, distant string notes that offer a fleeting, hopeful moment of rest. Growling chords and textures swirl, edging you to a meditation, only to be punctuated by sharp, deliberate drum patterns, adding a sense of momentum and purpose – a glimmer of light breaking through the mist. Experience the full cycle of a delicate trip as Ekkel guides you through Drum Ring – a precious and dark progressive journey.

The sign of a truly great artist is that you can put on one of their records from some 15 years ago, as well as one out next week, and not tell which is which. Mr Pittman is one of those - a Detroit flag bearer with a raw, otherworldly take on house and techno that always sounds futuristic. 'The Midwest Advocates Part One' first dropped back in 2007 and is being repressed now and is just as good as ever with ramshackle and dusty grooves, wonky synths and eerie textures all getting you into a trance and keeping you there. Both cuts on this are standouts in his impressive discography.

B2 Recordings is one of those labels that is deeply entrenched in proper house circles. Its latest comes from Bengoa who keeps it nice and chill on 'I Won't Love You' (feat Mimi X FY). The drums are low-slung, the chords are breezy and warm. 'Bibi's Funk' then layers in some lively percussion that adds a nice texture to the swaggering, slo-mo grooves. 'Listen' picks up the pace with some electro-charged rhythms and corrugated bass funk and then 'Exiles' leaves you with another classy, spacious sound with persuasive claps and big splashy cymbals.