Cerca:the body

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

Limited White Label reaches a milestone with LTDBLBL025 – our first ever LP. For the occasion, we’re handing the catalogue over to Boris Graus aka Borka & The Gang for a 12-track journey through House, Jazz-House and Deep House Electronica. The double LP brings together years of Boris’ work and collaborations, connecting electronic production with the feel of live musicianship. Across the record, House grooves meet jazz, disco, funk and deeper electronic textures, moving between warm, rhythmic cuts and more atmospheric moments. Boris plays the keyboards, glockenspiel and percussion himself, while the record features contributions from a wide range of musicians from both his local circle and further afield – including Malou de Sel on vocals, Jürgen Leutnant on saxophone, Bruno dela Rosa on bass, Dario Cei on flute and Bruno Freitas on guitar.

Pressed on double 12” white vinyl, LTDBLBL025 is not only the first LP in the Ltd, W/Lbl catalogue, but also a milestone for Borka & The Gang – bringing together a body of work that reflects Boris’ long-running connection between electronic music and live musicianship. LTDBLBL025 – 2×12” White Vinyl / 12 Tracks

"Here is a tender journey through loss and rebirth — a raw exploration of grief, heartbreak, and the emptiness that follows. It unfolds the fragile moments after losing a beloved friend, the fragile attempts to mend a fractured love, and the sudden rupture that shakes the soul to its core. Amidst the turmoil, anxiety pulses and the body aches with memories too heavy to hold. Yet, slowly, the darkness gives way to light. Breath returns. Support is found in unexpected places. Memories surface through hypnotic whispers, guiding the way back to softness and hope. This is not a story of instant healing, but a delicate awakening — a reckoning with old patterns, a reclaiming of the self, a learning to love differently.

Intimate and universal, fragile yet fiercely alive."

Renowned London producer, DJ, and Apron Records founder Steven Julien taps into his alter-ego with his new album, 808 PRINCE out 16th October.

Written and produced around iconic drum machines, 808 Prince embraces raw drum programming,
analogue textures, and bass-heavy compositions.The record moves fluidly between peak-time club energy and experimental rhythm studies, exploring the shared languages of techno, house, acid house, grime, and electro. Rather than looking back, the album reimagines the influence of the 808 through Julien’s distinct production style, creating a body of work that is both timeless and forward-looking.

The album features a strong lineup of collaborators, including James Massiah, J. Caesar, Jarren, Touch Sensitive, and KIAH, expanding Julien’s sonic universe while remaining anchored in pure groove and movement. More than an album, 808 PRINCE marks a new chapter in Steven Julien’s artistic practice, bringing together decades of club music influence, hands-on studio craftsmanship, and a lifelong fascination with rhythm into a singular statement designed for dance floors worldwide.

Discrepant presents Fantarombo, a new album by Giovanni Lami.

While his previous works often moved through memory, residue, degradation, and dialogue with existing materials, Fantarombo takes shape as an unstable, bodily gesture.

Sound is not recalled or reconstructed, but triggered, pushed, and set in motion as an active force. Lami approaches modular synthesis as a physical, hands-on practice rather than a technical exercise or display of system mastery. The modular setup becomes a responsive body: something to be nudged, listened to, and occasionally resisted.

The pieces unfold through slow accumulations, unstable feedback paths, and carefully misaligned sequences. Rather than driving toward resolution, the music lingers in states of suspension, allowing small shifts in voltage, timing, and texture to reshape the whole. Chance and duration play a central role, with structure emerging gradually from repetition and drift.

There is an unmistakably organic quality to the sound: porous, tactile, and quietly resonant. A sensitivity to space, grain, and micro-movement, where subtle changes carry as much weight as overt gestures. On Fantarombo, process takes precedence over control, and the circuitry is allowed to speak back, resulting in music that feels intimate, unstable, and quietly insistent, revealing itself slowly through sustained attention.

A music of unresolved behaviours, suspended somewhere between obsolete digital optimism, imaginary systems and malfunctioning computational folklore.

Colorize presents Echoes, the highly anticipated debut album from Massachusetts songwriter, producer and musician Jack Willard, a richly melodic body of work.

Jack Willard blends organic songwriting with modern electronic production, cinematic storytelling and immersive sound design, an emotionally driven style that has earned support from Above & Beyond, Tritonal, Yotto, Nora En Pure and Bob Moses since debut single Celsius, alongside airplay on SiriusXM Chill and BBC Radio 1 and millions of streams worldwide. The Massachusetts native made his Colorize debut in 2023 with Big Sky, an instrumental favourite still in regular SiriusXM Chill rotation, before expanding his sound on the Patterns EP with his first larger scale vocal collaborations, including fan favourites Everything All At Once and Wanna Know. Following performances across both U.S. coasts, Echoes arrives as Willard’s most ambitious project to date.

Trick or Treat was composed like a game, made up of samples and personal musical stories, twisted in all directions, and spat out monstrously in the imaginary world of Halloween. A trip into a world where the familiar becomes strange.
Trick or Treat' is available in two versions, with two different covers.. A turquoise EP limited to 100 copies and a black EP limited to 400 copies.

Courtney Storer is Aerofunk, a UK producer who broke out back in 2023 and has been dropping heat ever since., This new EP for Funk Dubs is no different: 'At The Tone' opens with a blend of woozy synth tones and answering machine messages that are offset by gritty and cold drum textures that remind of early tech house greats. 'Relax' is another cut that blends body-popping and elastic bass with snappy drums and odd samples that work perfectly. 'Wet One' is a hot stepping acid-laced tech house slammer with plenty of machine soul and 'White Heat' then closes with more hefty drums that spark plenty of physical reactions and come laced with tactile synth designs.

New edition, red vinyls.


Mazouni is one of the great voices of Algerian exile music. This compilation retraces his years in France from 1969 to 1983, when he brilliantly blended Algerian popular song, yé-yé, rock and traditional music. A sharp yet affectionate chronicler of immigrant life, he recorded classics such as 20 ans en France, Clichy and Mini-Jupe. An essential body of work, bridging cultures and telling the story of immigration through music, with a modernity that remains strikingly relevant today.

VV001 marks the debut release on Varco Vivo, an independent techno label based in Italy. Rooted in decades of club culture and shaped by contemporary vision, Varco Vivo brings rhythm and emotion together, creating music that moves the body while leaving something behind.

Jay Duncan returns with another relentlessly boundary pushing take on dubbed out UK club music. The ghosts of hardcore are ever present, but distilled into bare bones, percussion-forward steppers. Late night body music.

On the B side Al Wootton provides a hollowed out, 10 minute dub techno wormhole remix.

Nous'klaer Audio presents Nikos: A central figure and driving force of the Rotterdam nightlife, behind the scenes as well as on stage with powerful, ever-evolving live performances. Four tracks to make your body move, cut loud and going deep. The release marks the start of a new series on the label dubbed Spine. Supporting the head, connecting the brain to the body, a base for movement. The Spine series will focus on flow, while remaining energetic and driving. The sound design is bending and twisting, the solid sub bass will keep you grounded. The release comes in a special sleeve designed by Alice Vink aka Dirtydms.

Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.

This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:

“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”

The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.

The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.

But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.

The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.

As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.

CYBERPHUNK CLAUSURA (2LP) is the closing chapter of the CYBERPHUNK saga, following CYBERPHUNK and CYBERPHUNK EXPANSION.

What began as an exploration through Electro, Breakbeat and Acid now reaches its final form: a convergence of SubBass pressure, fractured rhythms and dystopian energy condensed into a complete double LP experience.

Across 12 tracks, Calagad 13 expands the sonic language of the series — combining high-impact breaks, hypnotic sequences, acid mutations and darker atmospheric structures into a body of work designed to be experienced as a continuous journey.

Pressed as a limited edition of 150 copies, CLAUSURA stands as both a collector’s piece and a defining release within the COSMIC TRIBE catalogue.

While this release concludes the main CYBERPHUNK narrative, the universe will continue evolving through forthcoming reinterpretations and remix transmissions.

Final chapter. Final signal.

'The Shadow BoxerÔ - a tale of oppression, discipline, and inevitable revenge - is re-interpreted by British producer Heritage, whose musical style perfectly aligns with the Shaw Cuts squad.
Ku Ding trained in Tai Chi under Master Yeung for over a decade. This discipline prioritizes health, self-defense and above all, the virtue of tolerance. 'Looking Back, Moving ForwardÔ mirrors this holistic training for body and mind through its broken rhythms, dreamy pads, and warm bass.
Despite facing relentless harassment at work from his tyrannical boss Jin Dasheng, Ku Ding remains calm and endures the humiliation. The playful percussions, vocal snippets, and powerful low-end grooves of 'DancehallÔ underscore the protagonist's deep-rooted discipline and resilience.
However, after his lover A Bao is killed and both his master and his friend Hu Binglian are successively murdered, he is forced to rise up and fight back using his martial arts prowess.
'2003Ô comes in swinging, fueling Ku Ding with the perfect mindset for the battle ahead via punchy drums and an energetic bassline.
Driven to mete out justice, Ku Ding prepares for his revenge without betraying his sacred tolerance. The complex breakbeat patterns of 'HaywireÔ carried by recurring, subtle chords, give him a final boost. But can this rational approach succeed? You better find outÉ

Esteemed DJ & Producer Joris Voorn sets aside his dance floor sensibilities for his latest body of work as he looks deeper into his production capabilities with ‘Melatonin’.

The 17-track record serves as a direct, downtempo companion piece to his 2025 dancefloor-focused album, ‘Serotonin’. By stepping away from high-energy techno, Voorn uses this body of work to explore cinematic sound design, rich textures, and weightless, slower-paced arrangements.

Drawing from his years of studio experience, the new album focuses on the Dutch producers influence from ambient and down-tempo soundscapes. Working with long term collaborators and musicians Bram Stadhouders (braem) and Michiel Borstlap, ‘Melatonin’ delivers a thought-provoking listening experience making this an essential purchase to complete the set.

This will be Mike McDowell's last (and his most personal) album under his old 'nom de guerre' of Hellboii, so all may again expect a true classic of his very own idiosyncratic 'mechagodzilla' mix of acidic techno, electronic body music, dark ambient, industrial electro and iconic futuristic (or better say brutalistic) sci-fi-soundtrack music.

Layne & Chang might not be household names to everyone, but in the underground they’re long-established fixtures. Chang—who’s released music under a string of aliases over the years—was tipped by Urb magazine as one to watch back in the mid-’90s and has been embedded in dancefloor culture ever since. Alongside him, Layne Fox (formerly San Francisco, now back in Florida) brings deep disco credentials, having helmed the cult-loved Disco Dimensions label and recording as 40 Thieves—best known for the underground anthem Don’t Turn It Off. In short, the boogie lineage on this record runs deep.

And that’s before you even get to Dan Tyler. As one half of the Idjut Boys and co-founder of Noid Recordings, Tyler helped lay the groundwork for London’s edit culture long before it became a global phenomenon. His involvement here only strengthens the package.

“Shake Your Body” opens the release with a locked-in, funk-driven groove—swirling melodic lines, subtly acidic textures, warm vocoder touches, and tight, punchy drums all dialed for peak-time movement. On the A2, “In The Desert” shifts the mood into something more transportive: a hazy, late-night burner equally suited to open-air parties, after-hours sessions, or home listening with the lights low.

Flip to the B-side and Dan Tyler delivers two cosmic reworks that push things further out. Psychedelic, elastic, and built for serious systems, both cuts hit that sweet spot between heady and physical—already circulating among a handful of tastemaker DJs and primed for heavy rotation as festival season ramps up.

A strong, floor-ready release that sits comfortably in the Whiskey Disco catalogue—rooted in disco, but reaching well beyond it.

Ralph Session is a direct connection to the old school and original house values and he brings all those to the fore here. 'Move Your Body' (feat Mr Flip - main mix) touches on hip-house energy with jacked drums and rapped vocals. 'You Never Know (Party Break)' is deeper, smoother and soulful for when you need a nice late-night pick-me-up and 'Feel That Spirit' plays around with jazzy, off-grid chords and expressive vocals that play with pitch. The highlight might be the effortlessly breezy closer 'Listen', which is a broken-beat and sun-bathed delight for summer sessions.

80 g vinyl + 60 x 60 cm poster of original Big city life artwork)

Stirring the cauldron of sound. From the acclaimed album Big City Life, artists that Smerz admire put those songs through themselves, to become a friendly mirror and or an alternative documentation.
With Yrdloop, Astrid Sonne, NEW YORK, Haloplus+, Molina, Erika de Casier, Fine, They Are Gutting a Body of Water, MIKE, Zack Sekoff, Elias Rønnenfelt, Fousheé, ML Buch, Clarissa Connelly, Cezinando, Toxe, VVTZJ and Clairo.

Straight from the island of X-Coast, Riviera Records is back -
this time introducing Villa, an emerging duo from Frankfurt.
A side features their fast tribal infused techno killa beats
with ltered disco vocals. To spice things up even more, its
the Get On Up remixes by electro powerhouse DJ Mell G and
XL Traxx (Lag & X-Coast) on the ipside. This music is
meant to be played off of a record!

No Home is the new album by Lane Hartley, releasing October 23rd 2026 on Royal Oakie Records. Produced in collaboration with David Hartley of The War On Drugs & Adam McDaniel (Animal Collective, Angel Olsen, Geologist), the album was recorded at Drop of Sun Studios in Asheville and features contributions from North Carolina’s tight knit music community–including Mary Lattimore, Seth Kaufman of Floating Action & Dream Sitch, David Hartley, Jack Victor Johnson, and more.

After recording his debut album Naming Horses, Lane left Los Angeles and returned home to the Carolinas, eventually landing in Asheville. It wasn’t too long until the songs started flowing and Lane found himself reaching out to Adam McDaniel at Drop of Sun Studios–a vaunted space that’s been at the heart of indie-rock the past few years, bringing to life recent albums from MJ Lenderman, Wednesday, Fust, and more. McDaniel introduced Lane to David Hartley, and what originally started with discussions to record one song quickly turned into a plan to track a whole album live with a six piece band. Once in the studio, co-producer McDaniel encouraged the group to lean on intuition–“All of the players on this record really brought it to life in such a cosmic way. They instilled so much childlike wonder and fun into the making of the album. It inspired me to keep going” says Lane.


Lyrically the album is a collection of vignettes about people who’ve become alienated from their deepest desires of connection, belonging, intimacy, and autonomy–inspired both by Lane’s own life and the lives of people he’s loved. The unique character of the album emerged when Lane made the decision to pair the dark lyrical content with bright & lush arrangements, inspired by Gene Clark’s No Other, Neil Young’s After the Gold Rush, and Amen Dunes’ Love. In Lane’s words, “The content of the songs got way darker, and my reaction was to make the songs catchier, and to lean harder into the music that influenced me. I wanted each song to feel like a room in a haunted house, with a beautiful garden growing outside”.

Album opener “I Am Not Ashamed” was inspired by the anti-memoir of actress Barbara Peyton, a 1950’s Hollywood starlet who met an untimely end; “It’s about knowing that whatever you’ve done to survive, you still deserve love” says Lane. “Mother” pairs lyrics about ancestral trauma with the sunshine-pop influence of Colin Blunstone, featuring backing vocals from Lane’s sister Barrett Hartley. “It's about coming to terms with the fact that the people meant to protect us are dealing with their own trauma…”

Meanwhile, “All Of This Is Yours” and “Tone Poem” form the spiritual center of the album, an attempt to transmute anger & pain to bittersweet acceptance in the wake of a breakup. “I feel like on the surface this is essentially a breakup album, a lot of these songs are about mourning the end of a relationship and reflecting on what went down. I was falling in love and getting my heart broken, then waking up and driving across the country and doing it all over again.” “Love Is Not A Song” was inspired by Margo Guryan’s Love Songs, pairing bright piano with playful lyrics about an old man who’s been beaten down by life but still believes his greatest love is yet to come. Last but not least, title track “No Home” sums up the album’s key theme of alienation, “It all goes back to this feeling of wanting to belong to someone or somewhere, wanting to belong in your own body.”

Tresor Records announces GODSPEED, a new EP from NVST, out on October 23, 2026. From its origins in the Motor City and through to the themes of interstellar travel, techno has always been a genre focussed on forward movement, a tradition that GODSPEED continues boththrough music and title.

The EP is a collection that brings to mind the spirit of early, non-conformist releases on Tresor, full of hypnotic synth loops, spacious FX, and breakbeats, yet with a crisp and modern sonic palette. Side A embarks with two tracks that combine a low, buzzing bassline with trippy melodies and percussion that ventures close to breaks and electro, while the B-side moves intothe fast lane with driving acid and more regimented drums. Digital bonus track "Firliner" combines both approaches across its seven-and-a-half minutes, as a buzzy bassline and spluttering beat ignite into a steady trance-induction.

The EP title arrived the way the best ones do: not so much chosen as absorbed from the aether, the word kept popping up during the creative process until it became the ideal name for this collection, given its connotation with setting out on a journey.
"You remember the nights where you've been on the floor for hours without realising how much time has passed, the conversations you can't fully recall, or how unexpectedly open you've been to everything around you. The music speaks the language of substance not as a statement, but as a way of describing perception. It's about experimenting with yourself, your body, your hearing, your emotions. About reaching a point where things that once felt permanent suddenly lose their grip, even if only for a moment. These recordings come from that place. They capture moments where movement replaces thought, memories blur into feeling, and vulnerability becomes part of the process. They're documents of a very
specific time, but also of something much more familiar: trying to lose yourself just enough to find a different version of who you are." NVST
This fast-paced forward travel is implicit in the word speed, but once this word indicated power or prosperity so that godspeed is a wish for success, forming an appropriate double meaning for this first full release of NVST on Tresor.

If you dig deep enough into the internet's lower depths, you'll find a shaky video shot on a camcorder. In 43 seconds, we see a makeshift drum kit built out of backyard Ostbahnhof trash, hear distorted vocals, and feel the anarchic energy of band and ravers dissolving into each other. It's now been twenty years since Bonaparte played their very first show at the legendary Bar25 on Berlin's Spree river. The ringmaster of this unhinged musical theater was Tobias Jundt then, and it's Jundt again now bringing the Bonaparte extravaganza back to the stage. New and nostalgic sit close together when the party's been going this long. Or, as they put it: "PARADISE IF YOU CAN STAND IT."

From late October through mid-November, Bonaparte will tour Germany, Austria, and Jundt's native Switzerland at full intensity, the full lineup - band to burlesque. Since their 2006 debut through their supposed farewell in 2019, Bonaparte played over 800 shows in 28 countries. Bottom line: "Too Much" isn't enough to properly celebrate a body of work like this. And the new songs from "PARADISE IF YOU CAN STAND IT" are far too significant not to bring to the stage. The lo-fi trash-punk of Bonaparte's earliest records has been built out with added layers, in production (largely alongside British avant-garde electronic artist HELiX) and in the songwriting itself.

The world certainly hasn't gotten any simpler since 2006. Tracks like "EVERYBODY PRESiDENT," loosely riffing on Zoe Leonard's poem "I Want A Dyke For President," and the corrosive "BRAiN ROT" mirror the social chaos we find ourselves in 2026. "OBEY (THERE iS STiLL A RiOT GOiNG ON)" is just as furious, though here the principle of hope still holds, as a multigenerational choir concludes "everything will be okay." Jundt speaks across generations again on "i LOVE YOU (MORE LATER)," dedicated in equal measure to his parents and his daughters: "Let the echo chamber bleed - from here into eternity."

The reconciliation and hope Bonaparte allows for and tends to, amid violence and all that noise, make "PARADISE IF YOU CAN STAND IT" a singular document of an artist grown wiser. Separation and grief don't cancel out love and vitality - they depend on each other. Ultimately, the album is a record of searching for and finding a home. To arrive, you have to let go.

And what better place to let go than in step with Bonaparte's wild, hedonistic party circus, finally back to gently terrorize our cities?

WRWTFWW Records proudly announces the release of sfs/in vain (selected tracks) by UK jungle heavyweight and Future Retro London founder Tim Reaper, a limited-edition 3LP bringing together selected tracks from two previously digital-only albums, sfs and in vain.
An insane collection of slower 140 BPM wonders, sfs/in vain explores jungle, dubstep, UK garage, R'n'B, grime, liquid D&B and broken beats through Tim Reaper's fresh and informed approach. Deconstructed and reconstructed club music, rooted in tradition but looking forward, these tracks reveal another side of one of the key figures in the modern jungle revival.
The selection comes from 2 albums. sfs collects a body of slower material Tim Reaper worked on throughout 2025, stretching across various genres of UK electronic music. in vain comes from a much more personal place. Written during a period of instability, heartbreak, financial and professional uncertainty, the album became a way for Tim Reaper to process what was happening around him and find some kind of escape. The tracks were made at a point when the effort he had put into rebuilding his life felt as though it had all been "in vain" - hence the title. The result is warm, melancholic, soulful, simply very human.
Together, these selected tracks highlight the incredible range of Tim Reaper's production, proving that his understanding of jungle extends far beyond the traditional boundaries of the genre. From heavyweight bass music to delicate melodic passages, sfs/in vain (selected tracks) is a beautifully varied snapshot of an artist constantly pushing UK club music into new territories.
Tim Reaper has been leading the resurgence of jungle for years, with releases on AKO, Skeleton Recordings, 7th Storey Projects, Green Bay Wax, Dalston Chillies, Parallax, Myor Massiv, V Recordings, Deep Jungle and many more. He is also the founder of Future Retro London, one of the most respected labels and platforms in the contemporary jungle scene.

Crash landing onto the scene in 2017 with his now legendary NTS broadcast of 2 hours of unheard music, the ultra-mysterious and enigmatic Michael J. Blood has gone on to release a series of sought after, lush and rugged future classics on his own imprints Blood Inc. and BodyTronixxx. Allegedly hailing from Manchester in the North of England, Blood’s sound is hard to pin down but instantly recognisable. Rooted in the twin foundations of modern dance music—Detroit and Chicago—while schooled in the sweaty basements of Manchester’s fêted club scene, his music feels both original and familiar, timeless yet unplaceable.

Weaving together a hypnotic narrative that feels both archival and futuristic, Cause & Effect Vol. 1 brings together some of Blood's rare and hard to find bangers from a variety of his early sold out projects. The collection mixes the pulse of Chicago with the grit and cosmic dreams of Detroit, while never losing sight of the North of England’s sophisticated late-night sleaze. Blood’s dance-floor eclecticism and raw, infectious mutant beats drive a soulful, jazz-louche energy into every track. The result is a collection of atmospheric grooves that weave together hypnotic rhythm and smoky texture, blurring house, techno, broken beat, and jazz-soaked electronics into a heady trip. Cause & Effect Vol. 1 maps out the restless evolution of Blood’s sound, a testament to his instinct for rhythm, atmosphere and dance-floor alchemy. House for the heart, techno for the mind, both built for the body. It’s in the Blood.

Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.

Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.

Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.

Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.

Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.

Back in May of '25, Body/Head's Bill Nace and Purling Hiss' Mike Polizze launched an improv duo with an unhindered exhibition of full-spectrum free string playing at Philadelphia's Pageant Soloveev. Mike + Bill, on gtr & taishogoto respectively, their unique idioms colliding with sibilant crunch across twenty-three minutes of forever captured on iPhone and carved into vinyl. Wild molten rock to keep noise freeks spinning for eternity.

2026 Repress


DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

You know the pattern: someone calls their album "Balearic," and you immediately expect chill-out terraces, pan-flute samples, and the umpteenth return of the Café del Mar sunset. Devi G. refuses this reflex almost maliciously. The title is a trick—an invitation to disappointment for those hoping for postcard exoticism. What is actually being negotiated here is erosion, but that of the body itself: the abrasion one inflicts upon oneself in the excess of the night, when partying turns into wear and tear, and a rush becomes a graze that only becomes visible in the morning. No backdrop, then, but a wound one has voluntarily acquired.

Instead of the usual Ibiza xylophones, Devi G. digs into the rift between idyll and wear. The result reads like a séance—less José Padilla, more as if Kevin Martin had re-recorded a Manuel Göttsching record on a dying four-track deck. The target area lies somewhere between the waterlogged ambient sketches of Huerco S. and the faded dub-afterglow of Actress, but Devi G. remains consistently on his own, grainier frequency.

Balearic Abrasions (title track) opens without haste, demanding almost without impatience: no motif, no rhythmic handhold, just a slowly tilting balance between warm texture and rough surface. The grain never feels forced—it is not a lo-fi costume, but an integral part of the statics themselves. Where other ambient producers strive for perfection, Devi G. consciously seeks the breaking point. Rhythm remains a tool, never an ambition. Those expecting quick resolution will be disappointed; those willing to listen will receive a depth effect that is rarely this vivid.

Exit Through Thee Gift Shop tips into harder territory: dub-techno reduction meets industrial edge, carried by a stoic kick drum that knows no mercy. Metallic textures slice through the sub-bass, while repetitive chords hypnotize like a defective loop. Central to this is a rare Terence McKenna recording, which functions less as spoken-word ornamentation and more as a disruptive spirit between memory and media archaeology. The title—Banksy reference included—turns this into a biting punchline: radical electronic abstraction positioned against the hyper-commercialized art world.

Morning Depth pushes the claustrophobia further, somewhere between post-industrial and deep-sea dub. The track refuses any peak-time logic, preferring to disintegrate into itself, subcutaneously, methodically. At the end, a casual, almost banal vocal sample (“i defiantly prefer chocolate”) breaks into the cool machinery—a small, profane fissure that makes the coldness of the rest of the piece all the more apparent.

Desiré Algorithmic is the album's most calculated moment: a stoic, repetitive bassline as a foundation, topped with fragile melody fragments that flash like glitches in faulty code. The title reads like a promise from nightlife—a figure that suggests much and delivers nothing, because behind the façade there is simply nothing, only simulation. The track carries exactly this principle: promise without substance, desire without body, just rendering. Only in the final third does a melancholic saxophone break into the sterile structure—organic, imperfect, and for that very reason more credible than everything before it. It is the moment in which the real briefly flashes through the surface of the dummy before it closes again.

All-inclusive Residue concludes the album as sedimentation rather than dramaturgy: dub-techno remnants, industrial patina, salty ambient surfaces that settle rather than compose. The refusal of consumption as a sonic principle—brittle, stubborn, with a gravity that lingers long after.

Verdict: Balearic Abrasions is not easy listening with a sea view, but an exercise in patience and friction. The restraint with which Devi G. avoids climaxes will frustrate some—for everyone else, that is exactly where the record's strength lies. No sunset. Rather, what remains on the rocks afterward.

New York Native Jeremias Santiago returns to Body N'Deep with tracks taken from the forthcoming album 'World Through My Eyes'. The album sampler contains tracks moving across deep house, disco and soulful house, demonstating Jeremias's production talents and is a perfect introduction to the forthcoming album we're really excited about here at BND.

2026 Repress

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

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

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

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

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

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

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

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

2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker

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

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

Next Moov Records welcomes a special release from house music stalwart Jovonn, featuring two essential reinterpretations by the late, legendary Mike Huckaby. The B-side sees New York house veteran Jon Cutler deliver his classic remix of "Losing My Mind", backed with an instrumental.

Body Clinic enters the realm of Big Trouble Records with 4 no nonsense, hard hitting club tools.

“Connection Lost” EP tells a story, between the influences of the early 2000’s East London scene, and the classic elements of House with an ever-evolving modern yank. Deep rolling subs keep the body moving, while classic organ sounds weave through the soul. A true diggers paradise, with tracks that journey their way through all hours of the night.

Frenchman Janeret heads up the second release on fledgling label Species. Deep in the game for over a decade now, Janeret has an innate ability to blend emotive layers of electronic funk with sultry grooves and hypnotic rhythms. His output is impeccable, each release encapsulating his emotionally rich approach. On the road, he’s an in-demand selector, channelling his love for sharing music that moves people into spellbinding sets from Europe to the USA, Australia and South America.

On the Vibrations EP Janeret embodies the essence of what makes him unique: combining the core foundational components of his sound to produce four dancefloor-ready cuts that epitomise where he’s at right now…

The EP opens with its title cut, ‘Vibrations’, a steppy production with an enchanting riff and mythical melodies. A reggae vocal utters “vibration” intermittently, accompanied by a hip hop sample, demonstrating Janeret’s broad sonic palette. Layered drum arrangement and deep bassline make this one a surefire dancefloor groover.

Up next it’s ‘No End’, a mesmerising trip driven by crisp percussion and a mean b-line. As the drums roll out, Janeret introduces jaunty layers that add cosmic funk to the cut. With each stage of progression the swirling funky synths envelop the listener more and more, immersing you in their wistful vibrations. A spinetingling break allows space for a short breather before the beats come back in, guiding us to the close.

On the flip we have ‘Fazed’, which kicks off with sturdy breaks and a highly effective, simple melody. The low end is immediately captivating, complementing the melody with a little more complexity. Together, the beats, bass and uncomplicated melody build steadily, with more elements added bringing further depth to the cut. This is one for closing your eyes and really losing yourself in the moment.

Finally, ‘Sub Pressure’ closes out the EP with a dreamy, yet bass-heavy atmosphere. Soft pads glide across the top layer, while a hefty b-line balances things out in the bottom end. Janeret’s exquisite production keeps things progressing with subtle elements creeping in throughout, creating a symphony of electronic sound and vibration. Let the brighter layers tantalise your spirit, while the bass moves your body.

Masterful work from Janeret here, with four versatile tracks designed to move the dancefloor across mind, body and soul. Feel the Vibrations…

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.