Buscar:the drive

Pacific Northwest native and a mainstay of the Portland and Seattle scenes since the late 90s, Trevor Vichas, now becomes part of the Selections label family with the sort of smooth cruising EP that will quickly become a staple in the record bags of deep house heads. 'With You' opens with the sort of gentle, meandering chords that get you daydreaming while the subtle sax lines add some soul to a warm groove. London's Max Sinal of Soul Quest Records remixes with extra drive, then 'Your Love' brings a Terrence Parker-style soul to the EP. Rising Toronto DJ and producer Nicholas Nothing adds a more funky perspective to round out a diverse and delicious EP.

Deep Logics is the new imprint from Amsterdam´s Techno & House veteran David Labeij.

A long-lost track, never forgotten. Over 20 years ago, during the early 2000s, Swalmloop was created by two of
David’s close friends, Frodo & Pep, during a time when they briefly shared a studio. Though the track hadn’t
been heard since, it always lingered in David’s memory. Every few years, he would ask about it—and finally,
buried deep on an old, forgotten hard drive in storage, Frodo & Pep found the original file earlier this year.
And just as David remembered, the track was every bit as beautiful to him. Now, after two decades,
Swalmloop is finally being released—accompanied by two amazing remixes from Rotterdam’s own Tapirus and
Deep Logics own David Labeij.

Aitcher Clark steps out from his work as one half of LOFN (Veyl, 2021) with a first solo long-player that draws a sharp line between the club and the cinema.
The 6-track LP moves with intent across ambient space, industrial techno frameworks, and restrained neoclassical harmony. It favors patience over peaks, detail over spectacle, and a narrative arc that rewards a
start-to-finish listen.
The campaign begins September 19th with the lead single “Improperly Planned Experience”, an industrialleaning cut driven by a relentless drum pattern and an eerie, immersive atmosphere. Stark and physical, it sets the tone for the album with its focus on tension, texture, and shadow rather than melody. On the same day, Clark will debut a new live and visual show at Lunchmeat Festival in Prague in collaboration with visual artist OXOO, translating the record into an immersive set where sound design and reactive visuals lock to the micro-gestures that run through the album. The performance is built around custom stems, live resampling, and dynamic lighting cues that mirror the music’s push and pull.
Across the LP, Clark threads field-recorded texture with precision drum programming and layered harmonies, avoiding predictable drops in favor of pressure that accumulates over time. The palette is cool and tactile: detuned pads, clipped low-end, and percussive details at the edge of audibility. Moments of clarity, strings, voice-like synths, negative space, arrive as structural markers rather than ornaments.
For Veyl, the album sits comfortably within a catalog that values forward motion and atmosphere, while opening a more composition-driven lane. For listeners who followed LOFN’s 2021 release, this solo debut widens the frame: less collaborative call-and-response, more solitary architecture, with the same focus on tension and timbre. The live show with OXOO extends that idea beyond the record, using visual rhythm and color to render the music’s internal logic in real time.

Four years on from their landmark Grassroots, visionary half-time heavyweights The Untouchables return with their third album, Lost Knowledge. The duo of Kate McGill and Ajit 'Nitrox' Steyns have carved out a space in modern D&B all their own, building on a legacy that reaches back to the late 00s to keep pushing into unexplored terrain with an assured and deadly line in rhythmic intrigue and atmospheric immersion.

Lost Knowledge launches into action instantly with the high-pressure drum science and dubby splashes of 'Drunken Bells', capturing the loopy techno propulsion and rolling intensity that drives so much of the output on Samurai Music. Where The Untouchables excel is in finding variety and nuance in their relatively forbidding, pared down sound. The heads-down groove of 'Mafia Town' owes as much to dembow and dancehall as D&B, while 'Lost Knowledge' spirals out into psychoactive flurries of synth strafes and organic percussion slathered in tight-locked delay trails. There's no light relief from strident hooks or riffs, just a pure, unshakeable commitment to the power of the beat and deeply designed layers of sound shaping out the space around.

'Busy Bones' makes space for carefully deployed hints of pad tone while the snares snap out of the mix with a sharp set of teeth. 'Four Eared Demon' baits the gabber crowd with its rapid-fire 4/4 hats atop seasick creaks across the midrange, keeping subtlety and patience in the lower frequencies to maintain the signature elegance readily associated with The Untouchables. 'Phase Correlation' teases an artfully unhinged ripple of synth that stands out amongst the murky murmurs filling out the middle distance, but it's still exercised with brutal precision.

Nothing happens by accident or feels out of place - McGill and Steyns are in total control, and they demonstrate incredible range and inventive approaches within their focused style. The accent of the grooves shifts, and individual sounds carry all kinds of artefacts, yet everything gets folded into the exacting Untouchables sound with a liberal dubwise sensibility. Brimming with inspiration and immaculately produced, on Lost Knowledge their one-of-a-kind sound is stronger than ever.

Advanced Art was formed in Tampere, Finland, in 1985 by Jana, Pete, and Vince. Too young to be part of the first wave of Finnish groups inspired by German synth pioneers and New Romantics, they instead forged their own path and soon became pioneers themselves. For the next ten years, Advanced Art defined and dominated Finland’s small but growing electronic underground. They inspired a new generation of Finns to experiment with synthesizers, built an international cult following, and were deeply involved in the local scene—running clubs, organizing events, and performing at some of the very first warehouse parties in the country.

Although the line-up shifted over time, the group’s creative drive consistently came from the partnership between Jana, who supplied the voice and words, and Vince, who shaped the music with his machines. Together they defined the band’s distinctive blend of sharp electronics and lyrical vision.

After several cassette demos and two 7-inch singles, Advanced Art signed to Poko Rekords in 1991. The EPs Scar and Time raised their profile both at home and abroad, especially thanks to valuable exposure on MTV Europe’s 120 Minutes. Known for their perfectionism, they finally released their debut album Product in January 1993. On Product the line-up was Jana (lyrics, vocals), Vince (music, production), and Factor (percussion, studio work). Having moved through phases of synth pop, EBM, and industrial, the album showcased Vince’s vision of a unified sound and style more clearly than ever before.

Force followed in 1994, conceived as a multi-part concept album (Update / Live / Retro). Recorded with live percussionist PW joining Jana and Vince, it expanded on the groundwork of Product with new beats, ideas, and a sharper, more defined identity.

By 1995, exactly ten years after their founding, Jana and Vince decided to bring Advanced Art to a close on the band’s birthday, 13 October. Their run had been precise: one decade of creative output, ending with a legacy that laid foundations for Finland’s electronic scene.

Now, conveniently coinciding with the band’s 40th anniversary, Advanced Art present Forced Product. This double-LP set, fully remastered, features Product in its entirety, alongside the Update and Retro sections of Force, plus additional EP tracks and remixes recorded between 1991 and 1994 at “Audible Art” – less a studio than a concept, existing wherever machines and people met.

Limited to 450 copies, Forced Product comes in a gatefold sleeve with poster and sticker, offering a definitive document of Finland’s pioneering electronic cult heroes — a band that helped invent their country’s scene and left a lasting influence far beyond it.

Founded in early 1995, Grow! quickly established itself as a key player in the underground house music scene. The label was created by Christian Mahringer (aka Jeremiah) along with Michael Peter (Duke) and Martin Retschitzegger (Tin). Together, they released a steady stream of 12" records, often under various pseudonyms, focusing entirely on the music rather than individual profiles.

While Grow! remained their main creative outlet, the founders were also active beyond the label: Mahringer released music on Chez Damier’s Balance Alliance and the renowned Chicago label Guidance, while Peter and Retschitzegger collaborated on records for Daniel Bell’s 7th City and Robert Hood’s influential M-Plant label, and also launched their own imprint, Central.

This new compilation presents a first carefully curated selection of the most notable tracks from the label’s catalog, alongside previously unreleased versions. All tracks were edited and remastered from the original tape recordings. It offers a deep dive into the raw, analog-driven sound that defined Grow!’s identity.

With its consistent focus on quality, anonymity, and artistic integrity, Grow! Records has left a lasting impression far beyond Austria’s borders. This release is both a celebration and a rediscovery of one of the country’s most respected underground imprints.

Siggatunez makes his debut on Small Great Things with E-Motion EP — a heartfelt journey through deep, soulful house grooves and late-night dancefloor therapy.

This 4-track offering captures his signature blend of emotive textures, lush instrumentation, and raw rhythmic energy, cementing his place as a storyteller in sound. Whether it's the uplifting vibes of “U Give Me Hope,” the vocal warmth of “Keep On” and “Don’t Let Me Down,” or the introspective closer “You,” E-Motion EP moves with both heart and purpose.

From the uplifting opener “U Give Me Hope”, to the introspective warmth of “You”, each track pulses with intention. “Keep On” (featuring Pilar Jordan) inspires persistence and groove, while “Don’t Let Me Down” (with a soulful turn from Vany T Fair) delivers a rich, vocal-driven depth perfect for sunrise sets.

Both timeless and contemporary, E-Motion EP is a testament to Siggatunez’s ability to translate feeling into frequency. Pressed on wax and available digitally, it’s music to move bodies—and hearts.

Dok & Martin return to the brand, this time to DCLTD imprint with their 3-track EP 'Impulse'. 'Impulse' brings delicious chaos, mixing up rattling bass-driven energy, with the mayhem of peak house traffic, as a barrage of horns and jutting synths coalesce to create a fierce wall of sound. 'Reaktor' begins as a streamlined roller, marked by tightly woven drums before building like a skyscraper with thrilling intent. Later it drops down into punchy percussive territory, never losing any momentum. 'Believe' gallops with slick swagger, a late-night jam heavy on atmosphere and crisp sound design.

2025 Repress
Powerhouse performer Gretel Hänlyn today releases her highly anticipated second EP Head Of The Love Club, via VLF Records. Premiering as Clara Amfo’s Hottest Record in the World on BBC Radio 1, focus track ‘King Of Nothing’ is a rollicking revenge track, cementing Gretel as one of this year’s most exciting breakout stories.

Gretel Hänlyn has spent the last year stamping her ground as one of female guitar music’s new frontrunners, imbued with a singular vision and wickedly unique voice. Inspired by 90s alternative artists like The Pixies, Smashing Pumpkins and PJ Harvey, Head Of The Love Club is a suitably contemporary stride forward in the hotly tipped artist's sound and marks a definitive departure from the indie-folk textures of her breakthrough debut EP Slugeye. A heady mix of hi-fi grunge, goth-pop and alt/indie ballads, the EP features previous singles ‘Drive’, ‘Today (can’t help but cry)’ and ‘Wiggy’ alongside five other tracks that candidly display Gretel’s exceptional storytelling.

Last year was vital for the rising star: she released her debut EP Slugeye to critical acclaim, collaborated with Mura Masa on his headrush of a single ‘2gether’ (9M+ streams on Spotify alone) and was also playlisted multiple times across UK radio - a rare feat for a fiercely independent artist. This year is set to be her breakout – Hänlyn has already been included in NME’s coveted NME100 list, performed live as part of DIY magazine’s ‘Class of 2023’ series and was dubbed one to watch by The Sunday Times, Metro, Time Out + more.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







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[g] B2. Grandmother [ft. Laraaji]

For Toxic Funk Vol. 20, we're excited to welcome back the man with the big beats and unmistakable grooves – Sonale – for his first-ever 7" vinyl release on Breakbeat Paradise Recordings. After making waves with digital releases like the bass-driven Ill Vibe EP and the party-starting Sound Monkey EP, Sonale now brings his signature style straight to wax with two exclusive funk-heavy weapons. The A-side, Give I...

Polar Park – Three Producers, One Unique Sound ! Stefan Müller, Andreas Thoma, and Ralph Grieco - united by a deep passion for electronic sound. Drawing from decades of experience, their music blends Minimal and House, driven by rich textures and hypnotic grooves. Each track is created
with analog synthesizers in their private Studio in Switzerland, capturing an unmistakably warm and organic tone. With all future releases coming out on vinyl, Polar Park stands for authenticity, quality, and the timeless appeal of handcrafted music in a digital world.

Deruta Records opens its catalog with “Dela Secu” ,a two- track EP from acclaimed Romanian producer Cezar Lazar. The EP stands out as a musical manifesto, challenging the techno-house scene’s drift into mainstream quicksand.

“Solo 2305” introduces the EP with orchestral strings and a polymetric woodwind theme anchored by a steady groove, crafting a soundscape where tension and release unfold with precision. The woodwinds’ evolving motif lends a lyrical contour that completes the arrangement. “Yaka Yaka” turns toward intricate syncopations, its rhythmic complexity enriched by subtle orchestral inflections. A central polyrhythm drives the track, heightening its tension while adding depth to the groove.

Mastered by Vlad Caia and cut to lacquer by Mike Grinser, the tracks are crafted for the dancefloor, shaped by Cezar’s signature lyrical motifs that define his standing in minimal and experimental techno.

This debut sets the tone for Deruta Records: boundary- blurring and unapologetically underground.

Berlin’s Tal Fussman returns to Rekids with the ‘Walking on Mars’ EP, releasing 7th November 2025. It follows the Survival Tactics boss’ recent album on Binh’s Time Passages, as well as his ‘Definition’ (2024) and ‘I Feel’ (2025) EPs on Rekids, with Fussman’s fresh spin on classic House and Techno winning support from the likes of Raresh, Cromby, DVS1, Saoirse, Carista, Honey Dijon, and many more.

The ‘Walking on Mars’ EP opens with ‘Crystallized’, a cavernous cut exclusive to 12”, where Tal Fussman pares back his signature percussive style in favour of a rolling groove set against a deep, atmospheric backdrop. ‘Who’s Who?’ follows, its wild sequences and skewed drumlines colliding in restless motion. The title track, ‘Walking on Mars’, drives forward on hard-hitting drums that gradually unfold into a soulful house melody, setting the stage for ‘Knowledge < Machine’, a razor-sharp electro finale of snaking synths and an apt robotic vocal. Fussman’s versatility shines throughout, with the EP already winning support from Antal, Rene Wise, Marcel Dettmann, and Fred P. Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.

Eudemonia marks a significant milestone with its 20th release: Cerebral Waves, the debut EP from Irish sound engineer and producer Kevin O'Reilly, known under his alias Otherend. This four-track collection dives deep into the electro continuum, weaving together cerebral rhythms, acidic textures, and cosmic atmospheres.

The EP includes three original tracks built around crisp drum patterns and spacious synths, offering a thoughtful take on electro with subtle cosmic touches. It closes with a remix from Sound Synthesis, who brings a smooth melodic drive while keeping the release’s spacey character intact.

Cerebral Waves is a bold introduction to Otherend’s sonic universe and a fitting landmark for Eudemonia’s evolving catalog. Electro heads, space voyagers, and acid lovers—this one’s for you.

Domenic Cappello has prepared an oasis of electronic style through “The Retroactive Future” for Analog Concept Records.

Side A doesn’t hesitate to show a deep mood, via the therapeutic sun pads, jamming New Beat House hybrid that is Hutt’s Groove, followed up by the cinematic late nite synth progressions and the delicious electro techno that thrives in Midnight Drive.

On the flip, we are welcomed to Time, an ethereal trip of aquatic electro, complimented naturally with cloudy synth vibes and charming acid lines.

The dynamic EP affair concludes with the timeless Detroit attitude, sharp percussion, and meditative sunset to lucid nite sky auras that are shining from Constillation Fela.

Analog Concept Records is delighted to bring you this vinyl selection suited for your tastes in classic future House to Techno, “The Retroactive Future” by Domenic Cappello.

With its 31st release, EYA Records welcomes German producer Dominik Marz for a full solo outing, and the result is a shimmering, synth-laced journey that feels both retro and radically forward-thinking. Beginning to Fly EP is a four-track package that seamlessly balances warmth and drive—making it as suitable for peak-time club energy as it is for the early morning hours when the dancefloor turns inward. From the outset, Marz delivers on the EP’s title. The music feels elevated—each track hovering in that sweet spot between euphoria and control, never overreaching, always gliding. The synth work is lush and textural, channeling a sort of cosmic nostalgia that recalls early ‘90s techno and electro, yet with a sleek, modern production edge.

Seoul-based DJ and producer DJ Botermelk launches his new vinyl label Venn with a solid four-tracker of club-ready tools.

Kicking off the EP, ‘Rubber Glover’ is a wonky stomper layered with hypnotic vocals and percolating FX.

A2 settles into a deeper, minimal groove with dubbed out synths perfect for a cheeky jaunt down the streets of ‘Milwaukee’.

On the flip, ‘Rearview’ takes on a more sinister tilt, with a rumbling bass line, menacing vocals, and a punchy drum workout to keep things driving forward.

Fresh off a run of standout releases on Mindhelmet, Limousine Dream and Sex Tapes From Mars, Bristol-based producer Boulderhead closes out the EP on a more optimistic note with his bouncy remix of ‘Rubber Glover’, driven by razor-sharp drum programming and pulsing drones.

Comes with DL card & 2P insert / wrapped in shrink + a sticker

At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a “universal listenability” and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao’s admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial “production music” and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album’s flow, rather than typical “songs” driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao’s forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

The prolific, party-starting Det Gode Selskab collective continues to strengthen its wax artillery with another spaced-out exploration from label affiliate A:G. Based in Oslo, the label and artist have built a strong affinity over the years, with DGS regularly releasing his music and inviting him to perform at a host of events. His “Time Factor” EP is essential electro listening, wandering between rippling shades of acid and tripped-out minimalistic movements, synonymous with the Norwegian beatmaker’s sound. It’s a hazy quest through four original cuts, packed with raw and gritty attitude.

The slinky first outing of the EP goes by the name “Crash.” Anticipation builds as the winding bassline and quirky drum patterns create a sense of retro gaming exploration. “Sleepwalking” is another diverse entry from the talented producer—a pensive yet driven motion propels the track’s energy, laced with slick hi-hats and acid-laden beats.

On the B-side, outer-galaxy transmissions go full steam ahead with the title track “Time Factor”, animated grooves and continuous evolution, climaxing with bright, uplifting synths. Plucky, tight drums lead the way in the final frontier, “Cognitive Resonance”—another classy dance floor outing from A:G, once again showcasing why he’s a producer to keep close tabs on.

Striking while it’s hot, A:G delivers another heater on a label that shows no signs of slowing down in the years to come, and if their previous releases are anything to go by, this one will be moving fast!

AXNER aka Chris Davies from Acid Jazz Records and singer Julia Axner drop a 12" that perfectly closes their disco trilogy. Original cut 'Gyaml' is the sort of cool, musical disco groove that's laden with Chicp-style basslines and airy, soulful vocals perfect for outdoor summer fun. First up then is Al Kent's remix of 'GYAML', which elevates the track with lush orchestral strings and a soulful, emotive disco vibe. Complementing this are two fresh house remixes from London's rising talents HVN SENT and H.O.P. HVN SENT delivers an uplifting, piano-driven remix, while H.O.P offers a smooth, deep house interpretation filled with vocal chops and subtle textures. This package has something for all discerning disco dancers.

Gramrcy and John Loveless return to Phantasy with a double-A single, ‘Lucid / Feel So’. Three years on from their festival-rupturing hit ‘Highdive’, which found regular rotation in the sets of 2ManyDJs, Peggy Gou and Daniel Avery alongside soundtracking shows for Moschino and Hugo Boss, two new tracks expand the sound of the Berlin pair’s studio partnership.

‘Lucid’ features a unique vocal turn from Tony Morris, a former teacher, taxi driver and contemporary cult figure in Glasgow’s underground scene. Having begun DIY production only in his late sixties, he has since released on the city’s peerless Optimo Music and has been profiled by the BBC and NPR, alternately described by The Scottish Herald as “Scotland’s most unlikely pop sensation” and by himself as “a deviant cabaret artist”.

Morris’s hypnotic repetitions prove to be an earworming anchor for Gramrcy and Loveless’s pressure-cooker arrangement, a bubbling concoction that represents their most formative influences, combining the sheer bassweight of FWD-era UK dance with the ISDN-line scramble of the most out-there electroclash. Rich in rhythm and textural weirdness, ‘Lucid’ captures the sound of a deeply satisfying intersection of rave outsiders.

Eschewing the dreamy psychedelia of its counterpart, ‘Feel So’ instead tips the scales back toward the outright ecstatic. The influence of esoteric disco and post-punk percussion rides on a throbbing bassline that builds toward supreme dancefloor release, paying tribute to a legacy of hi-NRG, spanning Chicago to Rimini.

Gramrcy & John Loveless - ‘Lucid / Feel So’ will be available to download & stream on October the 10th via Phantasy There will also be a limited-edition run of just 200 hand-stamped 12” vinyl records, including the instrumental cut of ‘Lucid’, available to pre-order from Bandcamp and the Phantasy store.

After a lengthy time of careful planning, the first Bünker Bliss release finally comes to life, and it couldn’t be in better hands. TBILISI-based producer DJ Astrobee steps forward with a record that reaffirms his status as one of Georgia’s underground pillars.

The music itself moves fluidly from razor-edged, body-jolting rhythms to shadowy synth-driven journeys - always carried by a tension that feels both immediate and entrancing. DJ ASTROBEE channels that energy into Bünker Bliss, setting a defining tone for everything that follows

We’re excited to unveil our first vinyl-only release, featuring four dance-floor-focused tracks from Kyiv’s Kiddmisha, alongside Tbilisi-based artists Reshio and Yamoc.

Each track offers a dynamic mix of electronic beats and rhythms, showcasing the energy and creativity of these rising talents in dance music.

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’.

Mastered by: Keith Tenniswood at Curve Pusher, Hastings

Cut By: Frank Merritt at The Carvery, London

Distributed by: Rubadub, Glasgow

Artwork by: Timothy Saccenti, Nicholas Martin, Scott Fraser

Photography by: Kate Green, Javier Gonzalez, Scott Fraser, Timothy Saccenti

Solid red vinyl (300 copies), 30 coming with a limited edition screen print designed by Timothy Saccenti, Nicholas Martin and Scott Fraser, hand screen printed by Niall Greaves at Newbridge Print studios in Newcastle.

Sunny Crypt reaches double digits on their release catalogue with a fully remastered new edition of the now sought after debut EP from Most Significant Beat. M.S.B. is an electronic music project active since the early 90s, formed by Maurizio Martinucci and Saverio Evangelista; their first record - originally released by Marco Passarani’s Nature Records in 1994 - is a masterclass in hypnotic patterns, pulsating rhythms and mind-bending leftfield techno. While “Heart Thinks Wide” and “A Flux To Follow” on A side give more breath to lushy textures and classy, dreamy pads, B side
reflects more carefully another aspect of the duo’s background with a rawer, electro leaning, percussion driven sound palette; in fact, both Martinucci and Evangelista have deep roots in the industrial and experimental music scenes. Martinucci has been a member of Clock DVA since 2010, while also working on a wide array of projects including The Anti Group and his solo Pragma alias. Evangelista, on the other hand, has been a core member of the cult industrial outfit Esplendor Geométrico since 1990.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

fabric presents salute features music from pioneers and contemporaries alike, including Kerri Chandler, Bodhi, Dorian Concept, Junior Sanchez, Redhead and more, alongside two originals from salute. More than a collection of tracks, it’s a cultural statement: a journey through club culture, personal identity, and global roots. To celebrate the release, salute will headline fabric’s Room 2 on 10th October, joined by a handpicked lineup (TBA), bringing their vision full circle from mix to dancefloor.

Lead single ‘double luxury’ sets the tone for the project, capturing salute’s signature blend of soulful energy, deep groove, and euphoric release. Built on spacious low-end and an undercurrent of euphoria, warped vocals twist through sleek, propulsive drums to form a house cut that channels the emotional intensity and groove at the heart of their sound. Arriving off the back of a huge summer, with standout sets at Coachella, Glastonbury, a North American tour and All Points East, ‘double luxury’ provides a fitting entry into a milestone chapter for one of the most vital voices in club culture.

salute says:

“my contribution to the fabric presents compilation series is my way of contextualising the music i've been writing over the last couple of years. i wanted to include bits of all the things that make up the salute sonic palette: loopy, sample based house music, dense and soulful chords and beautiful synths, slick and groovy drum work. it's an exercise in beautiful house and techno music, or my definition of it anyway.”

Launched in 2019, fabric presents has become one of electronic music’s most respected mix platforms, with contributions from Andrew Weatherall, Laurent Garnier, The Martinez Brothers, SHERELLE, Bonobo, Overmono, Confidence Man, The Streets, and more. Rooted in the legacy of fabric’s monthly CD mixes, the series now embraces a wider range of releases across digital, CD, and vinyl, each paired with a performance at the iconic London venue. With fabric presents: salute, they take their place in this lineage, joining the dots between underground heritage and the future of club culture.

Vienna-born salute has become more than a producer: they are a cultural innovator representing a club scene that is diverse, queer, and community-driven. Since emerging as one of the UK’s most exciting electronic voices, they have built a reputation for balancing raw emotion with dancefloor ecstasy, weaving grime, UK garage, electro, French house, jazz, gospel, R&B and hip hop into a singular, unmistakable vision.

Their music channels as much emotional resonance as physical release, tracks that turn longing into euphoria, intimacy into collective celebration. This ability has not only won over audiences worldwide but also earned praise from heavyweights including Four Tet, DJ Seinfeld, Floating Points, Skrillex, Fred again.., Annie Mac and Benji B. Their now-legendary Melbourne Boiler Room set, one of the platform’s most-watched, further cemented salute’s reputation as a defining force in the global underground.

The release of their 2024 debut album True Magic on Ninja Tune solidified salute as one of dance music’s most vital voices, its success confirming what the underground had long known. With fabric presents, they mark another milestone, bringing their curatorial vision and boundary-pushing sound to one of electronic music’s most iconic platforms.

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

Adeen Records digs deep once again for a new offering that taps into some seriously swaggy and soulful house. Dav Risen is behind them and is a South African DJ and Producer from Soweto who wears his Christianity with pride, and that religiousness also defines these sounds which are a spiritual journey into deep house with plenty of life-affirming harmonies Dav delivers a powerful, purpose-driven title track that glows with warm pads and a rhythm section that feels both grounding and uplifting, making it perfect for sunrise sets or late-night introspection. 'Don't Worry About It' is just as deep and moving, 'So Long' has warm organ chords and 'You Can Make It (feat DJ KK)' closes with another loved-up vibe.

Introducing OBI02 – Plight of the Gifted EP by TB Shine, the second release on
Dutch-label OBI Trackz.

Operating under various aliases since the early 2000s, TB Shine is one of the many expressions of Norwegian artist Terje Bakke. Plight of the Gifted EP holds five tracks that drift between hypnotic minimalism and raw percussive workouts, told through disjointed rhythms, haunting atmospheres, and layered tension.

The A side kicks off with Dopamine Dungeon—a slippery, low-end-driven roller wrapped in hazy textures and unstable euphoria. The track traps the listener in a quirky haunt, like the title describes accordingly. Red Army Moody Troopers follows with a tougher edge: straight drums, spectral pads, and an undercurrent of unrest. It’s a track that marches forward but never fully lands, suspended in an unresolved urgency.

On the B side, Plight of the Gifted appears in two versions. The original leans into emotional melodic motifs and fragmented structures, evoking both vulnerability and defiance. The Haunted Version strips things back further—bleeding with space, odd grooves, and a kind of post-club phychosis that lingers long after. Closing the EP is Plague Doctor, a slow-burning piece where a hopeful melody echoes and distant percussion round off the release with a sense of closure while being wrapped in a warm blanket.

With Plight of the Gifted EP, TB Shine offers a layered and personal collection— one that walks the tightrope between control and collapse, rhythm and mood. A fitting next step for Obi Trackz: cryptic, cinematic, and carved with intent.

Deep, trippy minimal house meets dubby textures on this essential 12”. Featuring standout remixes from Romanian groove master Nu Zau and the enigmatic Unknown Collective, this release blends hypnotic rhythms with subtle, atmospheric layers—perfect for after-hours sets. A must-have for fans of stripped-back, groove-driven sounds.

Uncertainty about and confidence in the future, melancholia and euphoria, tears and hope: The 5th Mollono.Bass album resonates with a zeitgeist that is a complex, highly divergent, sometimes even opposing state of thoughts and emotions. Deep and heady groove structures create compelling drive, emotive human voices add introspective fragility, free flowing harmonies unfurl as intense collective ecstasy. Vocals reflect pensively on issues like falling apart, yet the tracks themselves are magnificent examples of what happens when creative minds come together. MAZ’N contributed to several titles on Tear & Hope, in one of them we also hear the voice of Margret. The song-oriented approach of these tunes is another very contemporary aspect – one that will find expression in a special live show this year. Andy’s Echo adds to the signature vibe of friendship and co-creation on this Mollono.Bass album with a mutual production, as well. With many different expressions of its main theme, Tears & Hope has everything it takes to make a powerful, electrifying impact - on major dancefloors and in intimate listening settings alike.

Blazing onto ICONYC for its 21st release, Swiss sonic alchemist Shiffer makes a striking debut with the magnetic All I’ve Been EP. Celebrated for his emotional finesse and innate ability to connect with unexplored corners, Shiffer’s latest creation, including a lucious collaboration with Paul Brenning and capped off by Jonathan Kaspar’s trademark rework, is a tantalizing suite designed to echo in our timeless halls.

The journey begins with Shiffer & Paul Brenning’s opening manifesto, “All I’ve Been”, a track that unfurls with both confidence and caution, as if self-aware from its very first beat. Mechanical whirs and fractured frames give way to low-end swells that drive forward with an unrelenting undertow. Brenning’s unmistakable vocals start to break a warmer ground as they linger in the liminal space between today and tomorrow before slowly growing in gravitas. Suddenly, the piece begins to contort, drawing spellbinding figures as arresting arrangements and melodic flourishes allow for decompression. Imbued with a tantalizing breakdown that amplifies their exquisite use of negative space, “All I’ve Been” is a fascinating and intimate take that feels as expansive as it ever could.

The follow-up, “Urban Legends”, takes a bolder stance. Anchored by heavy drum programming that carves its place with deliberate force, the track is haunted by ghostlike vocal fragments that lend an unsettling, cinematic edge.. Out from the left field, Shiffer deploys undulating synthetics that intertwine with consummate ease as they glide under the spotlight. An alluring act that treads unhurried and unconcerned, “Urban Legends” operates at its own pace, far from the demands of a world lost in the metropolitan hustle, allowing us to bask in a lore of things that might or might never have happened.

Closing the release, ICONYC calls upon Cologne innovator Jonathan Kaspar, who delivers a singular reinterpretation of “All I’ve Been”. Immersed in iridescent textures, Kaspar layers lush, swelling pads over pulsing low frequencies, their ebb and flow punctured by flashes of distortion that spark like electric currents.. Reflective and equally immersive, Jonathan Kaspar’s take on “All I’ve Been” pushes the collaboration into a brash new terrain while retaining the spiritual ethos intact

Barcelona-based DJ and producer Groenogen unveils a bold new EP that seamlessly blends house, electro, and deep house, delivering a collection as groovy as it is powerful. Opening with a razor-sharp DJ tool driven by punchy percussion and an electronic bassline, the release quickly expands into a colorful second track, nodding to the golden era of electro house, complete with a playful jazzy, cartoon-inspired break that flips the rhythm before surging back with full force. The third track turns up the intensity with a roaring bassline and a commanding female vocal designed to shake the dancefloor, while the EP closes on a deeper, more introspective note with Tom Cler’s remix, reimagining the energy of the original into a melancholic yet entrancing journey. Balancing groove, eccentricity, and raw dancefloor power, this release captures Groenogen’s forward-thinking yet nostalgic vision.

Hailing from Detroit, Ryan has earned great respect over the years as a deej with a deeeeeeep
bag of records. This EP is a perfect reflection of that ethos - with tracks that will have you
covered no matter what time of night you're dropping the needle on this thing.

The A is heavyweight, peak time, disc jock business. Sarah O leads vocals to the A1, woozy,
dubbed out, blissy joy ride that is the club mix of "Between Dreams." It would sound at home on
all your favorite dancefloors, but especially those outside. The Great Outdoors baby: the biggest
room there is!

Next comes the mighty Acid Mix of the title track. Cop now so you won't HAVE to Shazam it the
next time you're hearing Mike Servito or Josh Cheon DJ!!! And the A side is wrapped up by 24
Hour House Music. A jittery proto house work out perfect for a night drive in YOUR city!!!
The B side gives us a more of a downtempo vibe, perfect for life's breeziest occasions. LA
legend Benedek lends his considerable talents to all 3 tracks, while Steven Grady and Noah
Triplett for the EP's final track - "Love Dub." All reminscient of Ryan's work as part of Symptoms
of Love, this side feels more like you're in a dream than between them.

After the warm reception of its first VA release, Phosphor is back with a new chapter: darker, more mysterious, and with a solid line-up of artists. The A-side sets the tone with two club-focused tracks made to move the floor, while the B-side drifts into a more hypnotic and introspective territory.

The record opens with “Satisfaction”, a club-driven cut marking Jesse Maas’ first appearance on Phosphor. Heavy basslines, crisp percussion and a vocal hook give it a strong presence on the dancefloor.

Next up, “Unlimited” sees the label’s founders, Blue Vision, reaffirming their style: melancholic yet groovy, nostalgic yet forward-looking. Deep electro wrapped in lush synths and a powerful low end, it’s a track that continues to shape their identity.

On the B-side, Light Blue File steps in with “Consciousness”, a hypnotic journey marked by his signature production. Rolling basslines and intricate breakbeat drums build a tense, immersive energy.

The VA concludes with B.AI delivering a spacious, emotional piece. Floating textures, drifting pads and a subtle pulse create a deep and introspective finale.

Long-standing friend of Stampo and affiliated labels, SJV heads up the third release on the label. The UK producer shines strong with his debut vinyl release—four cuts immersed with emotion but a distinct drive we have grown fond of over the years as he shared tracks with us. Now they will gain their deserved recognition as we release them into the wild, ready for those deeper moments on the dance floor.

Ani004 marks a pivotal moment for Animism Records, delivering a versatile VA that captures the label’s evolving sound.

Thoma Bulwer opens with a breaks-and-garage-infused cut, setting a crisp and percussive tone. Tommy Vicari Jnr follows with a bassline-driven house stomper, primed for peak-time floors, while US producer John Manhard brings a deep, rolling groove to B1.

Closing the VA, Tred Benedict shifts the energy with a warm ambient piece, rounding off this finely balanced release.

CODEWISE ...the secret inner knowledge of unlocking pure underground DNA DRIVETRAIN - Rachel A dark and aggressive odyssey morphs into undeniable Detroit abstraction BLAKTONY - Alternative Homework Mind expanding deep-tech, erogenous to audio consciousness BJIKA - House On The Hill An alluring atmosphere with a sizzling mood of insatiable sound JESUS GONSEV - Cosmic Sand Galactic acid showers delicately pad a luxuriant sonic landscape

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

"Pretty Close", Ethel Lindsey's debut LP, marks the beginning of a new musical journey, showcasing the talent and heartfelt nostalgia of this gifted singer-songwriter. Deeply rooted in the sound and spirit of the 1970s, her work draws from the golden age of Soul, Funk, Disco, and AOR, blending these genres with elegance and authenticity. Her songwriting and vocal delivery are so true to the era that one could easily imagine this album emerging straight from a California studio in 1976.

Entirely composed, written, and performed by Ethel Lindsey, Pretty Close is a deeply personal and cohesive body of work. From lush harmonies to groove-driven arrangements, the album captures the warmth and depth of vintage recordings while offering a fresh and intimate take on these timeless sounds.

Once again, Favorite Recordings brings its signature dedication to the project, ensuring every step of the process—from production to final mix—remains faithful to the sonic and aesthetic codes of the era. The album was produced using a maximum of vintage analog equipment, staying true to the texture and character of original 70s productions.

This is not merely a nostalgic tribute—it’s a sincere continuation of a musical tradition. With a deep respect for the past and a forward-thinking spirit, Ethel Lindsey breathes new life into classic genres, reaffirming their relevance in today’s musical landscape.

As Ethel herself puts it:
"The songs on this album offer but a fleeting glimpse into the whimsical, melodic reveries that may have danced through the mind of a young girl growing up in the northeastern suburbs of Paris, France during the early to mid-1980s. They are, perhaps, the earliest echoes of a fraternal musical upbringing—an inheritance both consciously absorbed and unconsciously imprinted—shaped by shared moments, half-remembered sounds, and the mysterious alchemy of childhood imagination. This collection is, in essence, a first distillation of that early inner world: playful, imperfect, sincere."

Braiden, an artist synonymous with the UK’s underground continuum, makes a powerful return after his hiatus with Raindance, a four-track EP of original productions on his own Off Out imprint. First emerging during the post-dubstep era with standout releases on Joy Orbison’s Doldrums and iconic Dutch imprint Rush Hour, Braiden carved a unique path as both DJ and producer through long-standing residencies on Rinse FM and NTS, where his boundary-pushing selections became essential listening.

The record channels the energy of the club and the scene he emerged from, blending freshly explored influences into a focused yet diverse body of work.

The EP opens with its title track, an unruly and visceral cut that channels early grime’s skeletal power into a hypnotic techno landscape. Clattering claps, cascading strings and a guttural bassline drive it forward, shimmering with movement and wired with an unpredictable edge. Touch The Sky, featuring a vocal contribution from multidisciplinary artist KESH, follows as a meditative centrepiece — a weightless, emotional interlude hovering with restrained melancholy and awe. X5x ramps up the energy again, urgent, euphoric, and devastatingly effective, its acid-licked synth line and thunderous kicks recalling the vastness of late-night warehouse catharsis. Lagrangian Point closes the EP on a different axis altogether; a time-dilating drone that strips away the percussion entirely while retaining the physicality and ethereal tone that runs through the EP.

Also a visual artist and photographer, Braiden’s finely tuned aesthetic runs through the record, with him self-designing and photographing the artwork printed on a full colour sleeve. Raindance arrives as a meticulously crafted statement: fierce and cinematic, a notable evolution from his earlier single-led releases, with additional mix engineering support from friends Joy Orbison and Objekt.


b A2. Touch The Sky ft. KESH

The rare and resonating auras of CCO arrive on Analog Concept Records with the EP Cosmic String, designed to take the listener on an electro journey of melody and mystery.

Side A opens with confident missions captivating the soul and body through building layers of acidic 808 funk, ghostly ethereal chords, and the deep vision of Breaking Phase Transition; while the analog chords, tropical electro design and warm bass taste of Topological Defect are sure bets and your soundtrack to explore lands not seen yet.

The B side manifests the acidic imagination with the lysergic proliferation, late nite synth auras and kick driven electro rhythms of Zero-Width Approximation.

Simply Connected Space arrives next characterized by golden era Chicago House design, sunny ambience, and 707 percussive chase concluding the ep in classic taste.

We are delighted at Analog Concept for you to Experience the class production quality of CCO - Cosmic String.

"After years of exploring different realms of electronic music, Trinchera.XV opens the doors of its label with a vinyl EP that moves between dancefloor-driven energy and sonic abstraction. For this first release, two complementary visions converge: the renowned artistry of Radial, a key figure on the international scene, and the fresh, promising energy of Bendiak, an emerging talent from the local landscape."


a Radial - Roundabout Way TXV01
b Radial - Sly [TXV01]
[c] Bendiak - Cheat Codes (Time Mix) [TXV01]
[d] Bendiak - Niebla en la Trinchera [TXV01]
[e] Bendiak - Dos Copos de Nieve [TXV01]

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

KinAhau returns to Crosstown Rebels with expansive new single ‘Under the Flowerpot’, featuring Luke Cusato. Backed by a cosmic, synth-driven remix from Perel, the release lands on the label. After debuting on the label with his remix of Airrica’s ‘Hi Speed Lover’ last year, surging wonderkid KinAhau steps forward with his first full solo release for Crosstown Rebels. ‘Under the Flowerpot’ captures a moment of raw honesty and transition for the young Mexican artist, revealing a more expansive, song-led direction in collaboration with UK vocalist Luke Cusato.

The single was born during a turbulent period, written in the wake of a panic attack shortly after relocating to Rome. That sense of fragility and release runs through the record, pairing Cusato’s stirring topline with KinAhau’s widescreen production to create a cut that blurs the lines between club energy and confessional songwriting. For the remix, Damian Lazarus welcomes Perel to Crosstown Rebels. A unique voice within the electronic landscape, crafting her own lane with a genre-blurring approach, her remix is chugging, synth-led, and infused with a signature retro-futurist touch, channeling cosmic energy and slow-burning tension for dancefloors that like things deep and driving.Now 22, KinAhau’s journey has already taken him from handing Solid Grooves founder Michael Bibi a USB disguised as a trash collector to playing at DC10, Fabric, Space Miami and Mayan Warrior. His breakthrough collaboration ‘Different Side’ with Bibi and Audio Bullys carried his name onto global stages, while his 2024 mixtape comprised of old demos, drafts and edits revealed a more confessional, unfiltered edge to his sound. Yet ‘Under the Flowerpot’ feels like a deeper statement, one rooted not in hype but in self-exploration.

DJ support: Michael Bibi, Solomun, ANOTR and more
Rising duo Moontalk step into the spotlight on Planet X with ‘Hot Line 84’, a track that channels tightly wound grooves, warped guitar licks and infectious vocal touches into a rolling dancefloor cut. Built with a sharp focus on rhythm and texture, the single captures the duo’s forward-thinking approach and delivers a fresh statement of intent on one of the underground’s most closely watched labels.

Planet X head Ben Sterling completes the release with his own reinterpretation, steering ‘Hot Line 84’ into darker, hypnotic territory. Crafted live using various guitars and analogue synths, Sterling’s remix brims with raw energy, tunnelling its way through Indie Dance textures while retaining the future-facing edge of the original. A track already championed by the likes of Michael Bibi, Solomun, ANOTR and more, it’s another bold showcase of Sterling’s versatility as both a producer and label curator — and a reminder of Planet X’s commitment to cutting-edge, cross-genre sound.

Together, the original and remix strike a balance between groove-driven immediacy and late-night depth, capturing two distinct yet complementary sides of the Planet X universe. ‘Hot Line 84’ stands as a compelling snapshot of where the label is heading next: innovative, immersive and firmly in tune with the dancefloor.

The Rituals series rises again, a fresh strike carved deep into black wax. RITUAL12 summons an international assembly of techno insurgents from the OMEN roster, each delivering their own sonic rite. Across two sides, the intent is absolute: raw, unfiltered power pulled from the shadows and unleashed on the dance floor.
RITUAL12 is not a compilation, it’s a convocation. Forged in analogue heat, drenched in distortion, and aimed directly at the heart of the floor, this record demands full surrender. Step in. There is no turning back.
SIDE A
Swarm Intelligence – Inexorable
Berlin’s Swarm Intelligence ignites the record with precision-tooled percussion and fractured basslines. Polyrhythmic tension winds tighter with every measure, industrial grit locking into a cybernetic march toward total hypnosis.
B.A.R.K – Shikijitsu
A bone-rattling invocation of distorted low-end and ceremonial drums. B.A.R.K drives forward like ancient machinery grinding to life, a Japanese primal energy sharpened to a deadly edge.
Axkan + Duellist – Resilence
Mexico meets Scotland for a brutalist assault: hammering kicks, serrated synth textures, and walls of analogue saturation. No safe passage here, only forward momentum into the heart of chaos.
SIDE B
EAS – Honored One
From Los Angeles, EAS delivers a tense, ritualistic construction where a subterranean EBM bassline pulses through metallic drones. Hypnotic, uneasy, and charged with controlled dissonance.
Ha†elove + Ogmah – Hanged Bodies
A dark ceremonial groove, heavy with ritual percussion and spectral synth chants. The layers rise to a fever pitch, blurring the line between transcendence and collapse.
Crystal Geometry + Axkan – Kratom
France’s Crystal Geometry joins Axkan for a militaristic strike of modular chaos and pummeling drums. EBM infused basslines drive beneath razor-sharp synth fire, rallying the midnight faithful to the front lines.

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

WVLT is the newest sonic addition from WNDFRM (Portland-based, Tim Westcott), an album of eight distinct explorations exploring the many facets of experimental IDM.

Tim Westcott’s practice is rooted in an acute, nearly forensic attention to sound. Subtle tones, sculpted drones, and lean percussive gestures, always pursued with a patient ear and obsession with sound design. 

With previous releases on Prologue, Home Normal, and Dragon’s Eye Recordings, and several live performances at Mutek, a new album from Tim is a rare yet welcome occurrence. The conceptual approach for WVLT began in 2021, mixing synths with drum machines and granular processing. Lightly arced structures slip between gates of rhythm, shifting pulses, translucent washes, and disquieting residue. There’s a precision to the hesitation and an insistence in the space between notes, a deft balance of raw improvisation and sculpted quietude.

An exercise in immediacy and response, each track builds and unspools, like form in fleeting motion, driven by the moment’s tonal contrasts, micro‑rhythmic interplay, and slight gestures that alter entire planes of listening. It’s minimal without sparsity, intense without density.

Next up on Mesh is Throwing Snow’s ‘Jackals’, a five-track EP drawing on echoes of UK subcultures.
Written in Ireland late last year with the London 2010s in mind, ‘Jackals’ is Throwing Snow’s love letter to his time spent there, tapping into a detailed web of sounds and styles through a personal lens, but skillfully produced to resonate with many. Locating memories in a transient city that is constantly reconfiguring itself, each track is an attempt at honouring fragments of recent, but seemingly distant, musical history. Taking us from DMZ at Brixton Mass to FWD at Plastic People, or Future Garage Fridays in Soho (IYKYK) to early days of NTS, the EP captures some of the fleeting moments that continue to play a significant part in the city’s sonic patchwork.

Production-wise, all the tracks share the same sounds twisted in different directions. The hats are vocoded with noise and random LFOs, and much like the chaos of London, every bounce has a unique pattern.

Opening track ‘Jackals’ walks the line between dub and UK bass, quickly overtaken by a wonky synth lead that spirals eternally upwards. ‘Ohnein’ jumps in with a massive pad swirling above a half-time step. In Throwing Snow’s own words, ‘I had to check with Martyn whether I'd ripped him off, turns out I hadn't, but it's a heavy head nod crossed with Un Vingt from my first 12"’. ‘A Cloud Mountain’ - a nod to the timeless James Holden remix of Nathan Fake’s ‘The Sky Was Pink’, leans into a maximalist progression of deep chords and fractured synths. ‘Forged’ steps into a weightier space with sparse drums driven forward by a deep cut of bass and twitchy echoes. Rounding things off, ‘Path Dependency’ speeds things up with touches of DnB in the drums, distant echoes in the forefront and the occasional sub wobble holding things together.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

Two Grammy Award–winning artists joined forces for this inspired peak-hour track, originally featured on Louie Vega’s Expansions In The NYC album. The pairing of Louie’s signature house-driven percussive energy with Robyn’s instantly recognizable vocals created a moment that pushed boundaries and hinted at a future direction for the genre.

The remix package builds on that vision, showcasing a stellar line-up of some of the scene’s most innovative tastemakers—including Honey Dijon, KDA, and Dam Swindle—each delivering their own unique grooves while honoring the spirit of the original.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

Revolution 1988 EP is an innovative interpretation of early House and Acid House vibes. Clocking in at 125 Bpm on the A side, it sets the mood for the sonic exploration of naturally expressed, impactful and upbeat classic house piano riffs and a tight rhythm section, contaminated with a punchy bassline and rich percussive elements. To complete the journey, it’s also worth mentioning the effortless contribution of well worked out vocals and dubby kind of FXs that will lift the dancefloor to the very last beat.

The Red Pill can’t be labelled as a B side, in that it is a dancefloor filler of its own. Creating an 80s feel, it’s driven by funky, low rumbling bassline, and an articulated, snappy, sharp percussions, it infuses pure dancefloor energy with disco vibes and organic grooves. It encapsulates the listener/dancer in an immersive sonic bubble of exquisitely full range textures, emotional layers and sound stage experience. Again, meaningful vocals and piano grooves intermix with reggae/dub FXs and delays. Stick around for the finale and get ready for the unexpected ....

MCRV017 – Transient States. Feedback is an evocative four-track compilation that captures the deep essence of dub techno—equally suited for the dancefloor and for immersive, focused listening. Label veterans Eric Louis, Genning, Osman Oz, SUBMINIMAL (with a Tvardovsky remix), and Etzu Mahkayah all contribute. From the very first listen, the EP draws in discerning ears with its richness and detail.

Each track unfolds smoothly, evoking deep emotional textures and building a sensuous, introspective atmosphere. The release moves from subtle cues to vast sonic terrains, weaving through warm harmonics and resonant low-end thumps that captivate the body as much as the mind.

These tracks are ideal for transitional moments in a DJ set, yet stand strong on their own. Whether elevating the narrative arc, introducing mid-set tension, or closing a journey with emotional depth, each piece functions as a zealous tool for navigating sensation—crafted not just for movement, but for lasting memory.

Transient States exudes quiet power beneath a deliberate veil of restraint. Emotionally charged, sonically rich, and full of nuance, this release is a standout addition to any selector’s arsenal.

Limited edition

Grandbrothers are internationally regarded as one of the key acts redefining the intersection of modern classical and electronic music.
Elsewhere is their fifth studio album and marks their most transformative work to date.
The album sees a bold creative evolution: expanding beyond their signature grand piano sound into analog synths, drum machines, and a more physical, rhythm-driven aesthetic.

Jay York is up next for the third release on Toca with his first solo EP, Viaje. This release marks a significant evolution in his sound, with elements of a deeper and headier approach to his infamous tool driven production style.

Singaporean label Darker Than Wax brings us to Texas with a fresh 12” from Houston-born producer Oye Manny. Following his release on Salon Recordings, Oye Manny has carved out a lane defined by deep rhythms, Latin roots, and pure authenticity, an ethos he continues to distill into sound on his new record Living Water. Drawing on his Colombian roots and keenly focused on what makes dancers move, Manny puts percussion at the forefront on Living Water – from the chord driven house stompers ‘Malta Sip’ and ‘Palmira’ on the A side, to the darker club tones of ‘Visaje’ and the slick musicality of ‘Youthful Expression ‘ on the flip, drums play a starring role. Completing the package is a remix from Singapore-based producer and Darker Than Wax core member Dexter Colt, providing a deeper, Chicago-inspired take on ‘Malta Sip’.

The second release on Ben Kaczor and Lb Honne's new imprint "St. Odes" features Ben Oyefeso from Hamburg with a deep, glitchy 2x12" vinyl-only LP!

Ben Kaczor: “After a gig at the Golden Pudel in Hamburg last year, I stopped by Remoto Records the next day. The music playing in the shop struck me immediately — delicate, unusual, and soothing all at once. As I kept listening, I even noticed my headache fading away. Behind the counter was Ben Oyefeso, quietly playing his unreleased tracks. Since that moment, the rest is history.”

St. Odes emerges from the depths of Switzerland, born out of the friendship and shared sonic vision of Lb Honne and Ben Kaczor. Driven by a precise yet fearless approach to creative expression, the label embraces what they call “elegant punk” — a refusal to follow convention. While its roots lie in ambient, house, and techno, the focus remains singular: not on meaning, but on feeling.

The first release "Various Minds 001" sold out very quickly.

The second release features Ben Oyefeso from Hamburg with a deep, glitchy 2x12" vinyl-only LP!

Ben Kaczor: “After a gig at the Golden Pudel in Hamburg last year, I stopped by Remoto Records the next day. The music playing in the shop struck me immediately — delicate, unusual, and soothing all at once. As I kept listening, I even noticed my headache fading away. Behind the counter was Ben Oyefeso, quietly playing his unreleased tracks. Since that moment, the rest is history.”

Selecting melodious and groovy crossover, fusion, and jazz-funk tracks from the Nippon Columbia catalog, including its sub-label Better Days, that City Pop fans will love.
The track selection and commentary are curated by Hitoshi Kurimoto, the most popular City Pop influencer in Japan.
This unique selection includes tracks from Soul Media, Hiromasa Suzuki, Kazumi Watanabe, and Kiyoshi Sugimoto, along with previously unreissued gems.
The artwork is designed by Stereo Tennis, known for its popular '80s-inspired graphics.
A must-have for fans of Japanese Jazz and City Pop.

Proud to present you our third RETROFUTUR compilation, including 6 tracks by our most regular artists.

Endrik Schroeder opens the ball with the pure warehouse banger “Automated” ! The track’s sonic intensity never falters, driven by a relentless rhythmic structure and saturated synthetic textures. The modulated layers and the syncopated break recreate the visceral urgency worthy of the underground raves of the 90s.



With “Happy End,” Brandski distils a contagious euphoria, designed to set the dancefloor ablaze with collective joy. A leading figure of the Italian-French new wave, he creates a track as jubilant as it is unstoppable, where rhythmic mastery flirts with festive instinct. An invitation to luminous abandon: arms raised, shared smiles, communion guaranteed.

With “Eldorado” John Lord Fonda reaffirms his status as a key ambassador of French techno on the international scene. The track unfolds a relentless, extremely tense groove, where darkness becomes driving tension. A rigorous, almost martial sound signature, serving an uncompromising vision.

“White Light” by Panthera is a polished track that transports us on a euphoric journey. The heavy, incisive kick blends with atmospheric layers and heady arpeggios, creating a constant tension that culminates in thunderous drops. The whole thing is supported by a deep, vibrant bassline, typical of the 90s rave scene.

Once again, Berlin’s My Secret Playground stands out as the architect of a muscular German nu-disco, flirting with the boundaries of techno. “Don’t Panic” combines percussive pulses and dark tension, while distilling subtle reminiscences of the disco aesthetic. A masterful sonic hybrid, between retro hedonism and contemporary intensity.

Club Mayz delivers a masterful closing performance with “Tonight I Have To Hide”, an electro track fueled by the raw heritage of Detroit techno and the dark textures of EBM. The track combines dramatic tension and synthetic precision in a nocturnal and introspective aesthetic.

WE THE NORTH is Swedish musician Johan Hansson who has been active in the dark electronic music since the early 2000’s with his project Cyanide, then Unitary, and also exploring dark metal with his project Mondocane. Johan defines his music created in WE THE NORTH as Nordic Noir “with an intentional and deliberate blending of the old with the new a melancholic hopefulness is created from the dark seasons of life in Scandinavia.”

“Love + Death” is WE THE NORTH’s fourth album and the first on NADANNA after contributing a remix of Tobias Bernstrup’s track “Private Eye” in 2021. The songs on “Love + Death” are birds of a feather, brimming over with melancholy and melody, yet driven by a hammering sixteenth note synth bass and sounds from the Roland TR-707 drum machine, and melancholic lyrics in English or Swedish.

Toronto/Berlin producer and Big Trouble Records founder Andre Zimmer has emerged as one of house and techno’s hottest commodities, fresh off his scorching fabric Records release with Carlita. Now he joins DJ Tennis’s Life and Death label with the announcement of his 4-track Kwon Anthem EP, out September 19.

Arriving alongside the announcement is the lead single “Hypnotizing” — a piano-driven, ethereal cut that highlights Zimmer’s ability to channel rave nostalgia into shimmering, emotive house designed for peak dance floor moments.

The EP also features the standout track “That’s Right”, which has already been making waves across clubs worldwide. With early support from Peggy Gou, Jennifer Loveless, Massimilliano Pagliara, Alinka, Jorkes, Luigi Di Venere, and more — including rotations at Panorama Bar and viral fan videos from Bella and beyond — it’s quickly becoming one of Zimmer’s most in-demand productions.

Across Kwon Anthem EP, Zimmer balances hypnotic, orchestral breakdowns, progressive trance textures built from Roland SRX patches (“Kwon’s Anthem”), and a cosmic, downtempo detour structured around a 707 jam (“Hours”). It’s his most ambitious and wide-ranging statement yet — and a fitting debut on Life and Death.

With support from underground tastemakers and appearances at clubs and parties worldwide, Zimmer’s DJ sets reaffirm a classic but forward-thinking approach to house music.

Side A
Don’t It Drive You Crazy (Break Edit) — The Pointer Sisters
Originally from the 1978 LP Energy, this is prime disco-era Pointer Sisters. The OG cut is beloved for its rolling rhythm section, and this edit zones straight in on the drum passages DJs & beatmakers have quietly relied on for years. Tight, punchy & perfect for looping under blends or quick cut-ins.

Side B1
In My Body’s House (Sample Drum Break Edit) — Gene Chandler
Lifted from Gene Chandler’s 1979 album Get Down, a late-career disco-funk gem. The drums here are the story: steady kick, crisp hats & a pocket that sits comfortably across disco, boogie & hip-hop-adjacent sets. This edit isolates the break for maximum flexibility behind the decks or in the studio.

Side B2
Don’t It Drive You Crazy (Sample Drum Break Edit) — The Pointer Sisters
A second, more surgical take on the same Pointer Sisters groove, focused almost entirely on the drum break itself. Think intros, beat tools & sample-ready loops.

Bottom line
A straight-up DJ weapon from start to finish. Disco breaks, clean edits & zero overthinking.

SUNANDBASS Recordings proudly presents its next release, welcoming rising artist Napes with a brand new single: Hit The Corner / Clamber. This release marks the exciting introduction of a new artist joining the SUNANDBASS Recordings roster, signalling a bright future for both the label and its evolving sound. With previous releases on Shall Not Fade and Alix Perez’s 1985 Music, Napes is a promising name within the modern jungle scene. This release is a clear statement of his pushing boundaries combining grime influences and old school jungle, giving us his fresh sounds and melody-led drum and bass music, reaching new horizons while staying rooted in foundations. On the A-side, Hit The Corner showcases acid-tinged synths that meet a UK grime edge, driven by energetic beats and rolling breaks. In 6:20, Napes lets us travel through all the facets of a SUNANDBASS Recordings journey, with his ever-changing arrangement that evolves from heavy, club-focused energy into a euphoric jungle-inspired middle section, before concluding with driving arpeggiated synths. On the B-side, Clamber offers a deep, darker contrast. Between the atmospheric strings set intro which is dropping into a heavy, bass-driven groove, easily imagined shaking the dancefloor during an Ambra Night indoor session. The track reveals a more introspective side of Napes, blending refined sound selection with classic, weighty basslines built for the dancefloor. We’re honoured to welcome Napes to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!

A central figure in Belgian techno, Border One's work has also been an international reference for consistency and direction since his early releases. An artist for artists with true commitment to his sound, Steven Petit's impact in the studio and behind the decks is admired by anyone who has done their homework. His music describes tight pressure under curious, modular-like sequences that stretch through the timeline of each track. The scale of minimalism remains key here, and the Belgian wastes no time when tunneling through his erratic tracks. Jazz-like dissonance drives his tension and although each element is carefully measured, the records truly command dancefloors. 'Inner Radiance' is no different. The Fuse resident takes his game one step further, pushing harmony to hysteria at every turn.

The EP skips foreplay and dives straight into the extremities of Border One's sound. In 'Reducing Valve', sustain is the key ingredient to this chaos. Slowly ripping the synth sequence into chords, Border one maintains a firm hold on the track's tension while remaining playful with the main theme. 'Sensory Reset' is more of a lurker with its shifting pad that spreads across the stereo image. This track is characterized by a grim urgency as opposed to its predecessor's progressive spiral. Keeping things low to the groove, the A2 swings about satisfyingly while Border One tinkers at his 909 constructions. Continuing his work on resonance, 'Transfigured' balances obscurity and surrealism. With a sequencer on the loose and a drum machine to emphasize it, the Fuse resident guides his audience into twists and turns at a constant pace. Here, we explore the dichotomy between the warmth and cold of a modular sound in techno, something frequently done but rarely mastered. Border One puts his years of experience to work to provide a combination of flair and balance to his tracks, something that is clearly translated in this EP. Of course, the final track - the title track - 'Inner Radiance' brings something very special to the table. The power of simplicity can never be underestimated and Petit knows just how to use it. With a strong core to an already sturdy track, the conclusion is spectacular. Emphasizing the electrifying nature of the record, Border One adds vintage chord stabs that fit right in with the sharp lead to create a powerful and memorable dancefloor experience. Not as much of a wind-down more than it is a gripping cliff hanger for his future releases, Border One provides once more an EP that underlines the true ethos of techno music.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

With its 10th edition, Dalmata Daniel's split series brings together two artists who have both left their mark on the label's compilations, now presenting their first full releases on the imprint. Anatolian Weapons and The Spy approach electronic music from different angles, one rooted in hypnotic techno rituals, the other in raw electro and post-punk energy. Both craft sounds that thrive in the shadows of the dancefloor.

On the A-side, Anatolian Weapons delivers three cold, hypnotic cuts. "Trapped" opens with heavy EBM percussion and a buzzkill bassline, setting a tense, mechanical tone. "Further Spiralling Down" sinks deeper into darkness with a grinding low end, tight drums, and electro-tinged claps, forming the side's relentless highlight. "Apathy Through Shock" closes with pounding, catatonic rhythms and a mournful, otherworldly melody, pushing the listener into disorienting depths.

Flipping over, The Spy's raw, electro-driven energy takes hold. "Same Blur" channels sharp electro beats with a punkish sneer and cosmic synth lines. "Falling", featuring The Spy's own vocals, leans into melancholic new wave, pairing bouncy rhythms with bittersweet melodies. The closing "Pretending" drifts into the darkest corners, offering low-slung, haunted electro layered with distant, spectral harmonies.

Selekt Wax returns with its second vinyl offering, shifting the lens from introspection toward motion. Where its predecessor explored stillness and space, Varginha 96 leans into rhythm with a more fluid, tactile energy.

Loopedeville works within a minimal framework but pushes it toward something more animated. Groove takes the lead, while detail reveals itself gradually. The result is playful but controlled, built for movement while still carrying depth beneath the surface.

Inspired by the 1996 Varginha incident in Brazil, the record carries a subtle sense of the otherworldly. Not in a literal sense, but in texture. Unfamiliar tones, slightly off center moments, and elements that feel just outside of reach.

Etched on the sleeve, a poem sets the tone:

the analog moment is now
but, how? release
free form feelings finding
new places in yourself
a sort of synthesis
of interpretations
crash & collide
into the infinite groove of reality
but, is anything really real?

A1 – Varginha 96
A breakbeat driven opener centered on a looping vocal from the Varginha ‘96 incident. Off kilter synth textures circle the groove, giving it a subtle, otherworldly feel. Simple on the surface, with depth that reveals itself over time.

A2 – Varginha 96 (Ohm Hourani Remix)
Ohm takes it into a more stripped back, hypnotic space. Centered around the same vocal, the track locks into repetition and feel. Hazy, controlled, and built for late hours.

B1 – Thunders in Paradise
A driving groove built on dusty drums and a tightly controlled rhythm. It holds a steady pulse, with understated details and shifting textures giving it quiet depth.

B2 – Never Enough
A fluid, late night groove shaped by Loopedeville’s signature swing. Less driving than the previous cut, but still locked in, with warm tones and an easy bounce that carries through.

Deep techno, sometimes nostalgic and melancholic: that what Zooloft Records is. Giorgio Gigli and Francesco Baudazzi (Obtane), balancing soul and body, give birth to intense storytelling through sound, enhanced by an intimate reflection about childhood innocence.

Introspection is driven by a vein of subtle and rarefied nihilism, pervaded in each release. Project's graphics evoke the idea of abstract thoughts written on blank paper, where shadows meet memories.

Future, maybe, is the memory of a beautiful past. So, we are here, today, and proud to present you a special, collector-item vinyl boxset, limited to 100 pieces only, handsigned and remastered, containing the full Zooloft discography.