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Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

Golden Earring were together between 1961 and 2021, and their last and best known line-up included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone) a member since 1968 and Cesar Zuiderwijk (drums) a member since 1970.

They had over 40 hits and released 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single "Radar Love" and their 1982 single "Twilight Zone".

Around 1992, the unplugged sessions on MTV were a trend; almost every rock band or artist was doing them. Bass player Rinus Gerritsen suggested to record an acoustic album themselves. The record company wasn't very enthusiastic at first so with a small budget the band recorded the album live in an intimate cafe in Amsterdam. The Naked Truth turned out to be the Golden Earring's best selling album.

The Naked Truth is available as a limited edition of 2000 individually numbered copies on purple vinyl. The 2LP is packaged in a deluxe sleeve with linen laminate finish and includes an insert.

Dutch electronic maverick Spekki Webu stretches out on an expansive album for new label Outer Orbit Records, exploring his deep and wide-ranging influences across a captivating narrative of tripped-out beatdowns and evocative dreamscapes. Spekki Webu is someone who was naturally drawn into the magnetic pull of Outer Orbit after playing for their sister party Mizz Softee. As the time-travelling album title suggests, it's a meditation on formative sounds that propelled him on to myriad adventures across the many microcosms of electronic music. That means indulging in slower tempos and crooked grooves, with the influence of trip hop and illbient looming large in the boom bap drums that punctuate many of the album's passages. There is also space for immersive techno that operates as a lighter reflection of the sound he is best known for, as well as hints of buoyant house music, rolling breakbeat, dislocated ambient and intricate electronica. Cari Lekebusch, a key influence, contributes a rolling, heavy-grooving remix that closes out the record.

Basking in the glow of Lightsaber, the swashbuckling synthesizer synergy of Tending Tropic, Kay-Chi and Sharlese debuts. A cross-continent collaboration that bridges the Atlantic, this group joins forces through a shared passion for italo and wave with their sound set firmly on the floor. The title track is analogue brightness, drums drive a melody that dips and soars next to Sharlese’s uplifting lyrics. Energy levels are high from the needle drop. Cymbals crash for “Timeloop.” Vocoder words are softened by gently scaling chords before generous builds give way to sparking synthwork. Disco flourishes and bongos break to spiralling notes in the playful “Luminara.” Cosmic influences radiate through key shifts and understated toms in this celebration of the night sky. “Inertia” marches to a heavy-hitting beat. Industrially dipped, the percussion is fortified by a simmering melody that spills over into a bold body-throbbing close. Despite being oceans apart, this is a partnership light years ahead.

Get ready for Macem Ly"s debut album "Honda Date" - a neologism and a homage to all the hopeful Vietnamese couples he watched as they"d rather hopped on to a Honda moped rushing into nature for a romantic date than facing the rush of urban life. So the multi-instrumentalist and producer artist naturally created the perfect album for all those who travel and observe while enjoying long rides on busses or mopeds - not least for knowers of high-quality instrumental productions with a special place for hiphop tradition in their hearts. With "Honda Date" he showcases his musical prowess rooted in HipHop, Funk and Soul all the while proving a certain versatileness in creating new sounds - that are also born out of his training in classical music. Unconventional drums, alternative 808 beats, delicate soul samples and those of modern Jazz guitarists non unambiguously carry Macems Ly"s handwriting as he pays tribute to the old while non the less creating something new.

These Tasty Records returns with Primitive Velocity — a four-cut vinyl various built for peak-time impact.

On the A-side, French DJ Cptik sets things in motion with “Depart Imminent”, a razor-sharp acid weapon infused with eerie, nocturnal tension.
Ecuadorian duo Mop & Quims follow with “Overdose” a tight, percussive tool focused on groove and pressure, engineered for the floor.

The B-side opens with Cptik’s “Jungle Speed”, a high-energy rave cut powered by an infectious bassline and break-driven drums.
To close the record, French producer Aymeric delivers “Long Time Ago”, a melancholic acid finale, introspective yet effective, perfect for the final stretch of the night.

2026 Repress

Fresh his Keysound D&B opus Blue, Sully returns to Astrophonica with four pristine slabs of breakbeat science. "Flock" places the full strength melodic elements over the faraway amen echoes in a way that's not dissimilar to early Good Looking. "Helios" is a much colder flashback to the darker corners of jungle's formative dance; all breathy minor key chords and vapour trails of paranoia countered neatly by a precision dub vocal sample. "Crystal Cuts" recalibrates the focus to the drums by way of broad jazz chord strokes while "Hours/Miles & Still" concludes affairs on an emotional electronica tip where the breakbeats thanks to a beautifully arresting intro. Powerful.

Debut EP from producer Farhot as his alter-ego Fuchy. It is this professionalism and versatility that makes the 420 EP so damn good. Whether on the grandiose single "Don"t You Hold Me" that features unique flute tones or whether a female voice sample on "In Love" finally rising completely to the beat of the drums: Fuchy never disappoints. With 420 Fuchy aka Farhot delivers yet another strong piece of music without losing touch to the zeitgeist.

Colemine ist stolz darauf, die neueste 45er von Aaron Frazer zu präsentieren. Diese hier ist etwas ganz Besonderes. Zwei Tracks mit der Rhythmusgruppe der legendären Cold Diamond & Mink, dem Rückgrat des finnischen Soul-Labels Timmion. Die A-Seite ist ein neuer Track: ,It's A Shame". Und es ist vielleicht wirklich schade, dass dieser Titel es nicht auf die "Into The Blue" LP geschafft hat, denn er ist ein echter Knaller. Meisterhaft von Aaron und Produzent Alex Goose zusammengestellt und arrangiert, besticht der Track durch knackige Drums, Aarons charakteristisches, seidiges Falsett und wunderschöne Streicharrangements. Du wirst den Refrain noch tagelang vor dich hin summen. Die B-Seite ist der Album-Closer auf ,Into The Blue" - und das aus gutem Grund. Es fühlt sich wirklich wie ein süßer und gefühlvoller Abgesang am Ende eines Films an. Ein Klagelied über die Höhen und Tiefen der Liebe, das Gefühl, angesichts des Scheiterns dumm dazustehen, aber trotzdem weiterzumachen. Es fühlt sich an wie ein verlorenes Sample, das von Aaron und Goose gekonnt ins Hier und Jetzt geholt wurde. Für Fans von Durand Jones & The Indications, Pale Jay, Jason Ngonda, Thee Sacred Souls, Neil Frances, Khruangbin.

Balearic London's very own Ben Gomori presents his first extended play since his 2024 debut album 'Collapsing Time', collecting an array of sensual sounds across four tracks. 'It's Always Sunny Above The Clouds' is a punchy collaboration with German powerhouse Lauer, powered by bright piano and synths paired with '80s acid house drums and a thick melodic bassline. 'Mucho Gusto!' goes full Italo, bouncy energy matched to an anthemic horn sample. 'Fun As Fk' makes great use of rising star Caio Cenci's infectious guitar licks over a phat-bottomed groove and camp '80/90s sample synths, and 'Inner Luv' slows the tempo for a chuggy flamenco-flecked bliss-out.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

Der New Yorker Jazzmusiker Bill Buchen verbrachte zwei Jahre seines Lebens in Indien, spricht fließend Hindi und hat eine tiefe Verbindung zur dortigen Musikszene. Die Dichotomie dieser beiden Welten manifestiert sich auf beiden Seiten des Debütalbums seines Electric Village-Projekts. Aufgebaut auf unerbittlichen rhythmischen Mustern und sinnlichen Höhenflügen und getragen vom Flötenspiel des bemerkenswert vielseitigen Jose James, präsentiert sich die gleichnamige LP auf der A-Seite als pulsierende Energie, die auf der B-Seite in einen kathartischen, vom Latin-Jazz inspirierten Tanz mündet. Deluxe Edition auf schwarzem 180g Vinyl mit Glanzlaminierung in PVC-Außenhülle samt 30×60 cm Einleger inkl. Interview mit Tony Higgins und exklusiven Bildern, gedruckt auf 300g Soporset "EU Ecolabel" Premium-Papier.

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

The Reflex has been busy of late and, though already a proven master of multi-track mixes and mash-ups, he keeps on reaching new heights with each new drop. This is one of several coming in quick succession and finds him dropping the final part of his label Discolidays' collaboration with the Zagora catalogue, which features tunes by Thomas Bangalter's pops, Daniel Vangarde. Here it is the Gibson Brothers' disco belter 'Heaven' that gets beefed up with bright strings and unrelenting drums, driving you to a place of sheer joy. A more obscure sound come son the flip with uptempo drums and sumptuous musicianship laid down by some of the best of the disco era in Paris.

American DJ Homicide aka Craig Anthony Bullock is best known as the former DJ for Sugar Ray but also does a fine line in club-ready hip-hop jams and remixes. 'Likwit Swordz' kicks off his latest on the small but well-formed CA label out of the USA. It's got nimble drums that have a clipped bounce and vamping chords, vocal grit that echoes Cypress Hill and an infectious roll. On the flip, 'Day Coastin'' is more deep and smooth - the bars as silky as BIG and the drums rolling with crisp boom-bap style. Both have been made on an MPC and that sampler's famous textures elevate the final jams no end.

Shep is back on his People Pleaser's label with a fourth transmission of groovy tech house that blends drive, cosmic atmospheres and just the right amount of vocal and melodic hookiness. 'Reach For The Tongs' is warm and dubby, one to get the head down and lock into. 'Pulver Zimmer' has warped synths and glassy percussion, bringing the early Terry Francis style drums to life and 'Rave Gravel Drive' gets more unhinged. The synths are wonky, the sound designs more trippy and abstract and the groove is minimal and synthetic. 'Mutzki' closes with a subtle, warming rush of low-key joy thanks to the muted chords that ride a slick groove.

The Reflex has been back remixing on his multitracks again and if you have been out anywhere decent in recent times you might already have heard this one as it has been a favourite of those DJs in his inner circle. Finally, the unrelated rework of a legendary disco diva arrives on wax and dazzles from front to back. 'Lolita' has it all - the deft hi hats sliding above funky bass, a rhythm driven by busy piano chords and lung-busting vocal full of burning soul. 'Camels' rides funky, chunky drums and has more expressive tones this time in unison with an off-balance chord sequence and fluttering sax. Lovely stuff.

Jhobei has been on a constant ascent in the last couple of years, and he's worked with some of the most credible labels in the game in that time, from Fuse to Picnic to Semi Delicious. Now he steps up to Burnski's Pilot with four absolute nuggets. 'Pulse Reflex' is amped right up and ready to go - tightly circling synths, buoyant beats, garage shuffle and slick fills that all demand you bust out some moves. 'Believe' dials things back into a more heady, deeper dub tech vibe and 'Cannei Getcha (To Feel)' brings crispy electronic synths and pensive pads to a future groove before 'Synthetic Symphony' closes with buffed neon pads and smooth progressive chords that ride clean, meticulous drums.

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

A Good Year - Play. Driving through the country. Tender anthemic voices. Real sounds and synthetic sounds. Baggy drums. Acoustic guitars, bass drops, big and small, Moody. A Good Year is a collaboration between producer and former Liss drummer Tobias Laust Hansen and filmmaker-turned-musician Albert R. Hildebrand. Featuring: Horse Vision, Koilwood, Tiffi M, Quiet Light, Late Verlane, Alba Akvama, Suisse Air and MØ

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

"Askew indie rock thrills, bubbling, synth-flecked and sitting at a perpendicular to the mundanity of the everyday" - Clash

London-based French chanteuse, multi-instrumentalist & composer Clémentine March shares her new single of entrancing avant-pop ‘After The Solstice’, from her upcoming new album ‘Powder Keg’.

Enriched by influences from jazz, folk and Brazilian music, ‘After The Solstice’ was initially inspired by a time spent touring the UK with acclaimed folk singer Naima Bock. For Clémentine, the song explores “the theme of memory and reminiscence” and employs an absorbing sense of cyclical repetition; a musical device used “to evoke the deja vu sensations we all experience in life”.

Out of life on the road, everyday recurrence and contemplative retrospection, Clémentine creates a profoundly hypnotic anthem on ‘After The Solstice’, both mellow and fervent. Evoking the likes of Stereolab, The Raincoats and Cate Le Bon, it’s a mesmeric singalong of graceful vocal lilts and poised musicianship, with every element moving in beautiful unison.

Recorded & arranged with Ollie Chapman (bass) & Sophie Lowe (drums), and featuring vocal contributions from Naima Bock, Sophie Jamieson, Katy J Pearson, MF Tomlinson, Marika Tyler-Clark, Robyn's Rocket and Alabaster DePlume, ‘After The Solstice’ is the first glimpse of Clémentine’s third album ‘Powder Keg’, following the rich international eclecticism of her debut album ‘Le Continent’, and the beguiling intimacies of her second LP ‘Songs of Resilience’.

PLONC's second offering. Thronvio — the sons of Thron, mighty Vodun, great benefactor and protector of the faithful — transplant the acoustic into the electronic, the ceremonial into the club. Cutting across genres, from peak-time to the small hours: Club jackin' grooves, ritual ambience, hand drums, 909, acid lines, chanting voices, distorted bass. Far out.

2026 Repress

Chlar delivers his debut record for SHDW & Obscure Shapes' Mutual Rytm imprint.

Emerging as artist of note for both now and the future, Chlar continues to craft and shape his sound as he curates his own high-octane approach to techno. Combining dynamic performances taking in three and four deck mixes with his own up front productions and his talents as a former mastering engineer, the Swiss talent has become a respected name amongst his peers. After releases on Lobster Theremin and his own Bipolar Disorder imprint, the Berlin-based DJ, producer and label boss heads to SHDW & Obscure Shape's blooming label Mutual Rytm to deliver six precise and powerful cuts across his 'Optimized Groove' EP.

"As the names states, 'Optimized grooves' is a collection of tracks designed to match specific parts of the event/night. From 'Night Genesis' at the origin of the night through to tracks like 'Maximum Performance', a peak time bomb, and 'Spirit Enhancer' - an uplifting and warm production elevating individuals to higher labels after hours of spiritual connection'" - Chlar

Opener 'Early Morning Acceleration' sets the tone early and dives into a looping ride through slinking hats and bustling arrangements - combining classic influences with forward thinking touches to reveal a dynamic slice of techno. Next, 'Maximum Performance' fuses swelling low-ends, sharp percussion and vibrant leads, while 'Love Blaster' delivers an all out fiesta armed with rolling drums, sharp whistles and rich chords. On the flip, B1 'Night Genesis' sees hypnotic loopy vocals balanced by tough kicks and luminous synths, before 'Spirit Enhancer' showcases a soulful trip as resonant electronics work around the track's tunnelling groove. The digital EP comes with a bonus exclusive production in 'Synaptic Discussion', a euphoric and impactful closer which brings things to a close firmly in the peak time hours.

Chlar 'Optimized Grooves' drops via Mutual Rytm on 9th September 2022.

2026 Repress

We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.

All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

Always lurking amidst the underground Porto music scene is Spitbender, the most stable moniker of the ever-morphing Francisco Antão. Spin gathers a collection of tracks that demonstrate his experimentalism & coy sonic precision. Spitbender takes cues from Jungle & Hip Hop producers to create his own unique blend of Downtempo. What becomes clear throughout the album is the attention to detail: it is infused as much by Industrial's red-line spectra as it is by the dubplate logic of the Darkside Continuum, yet it does so at its own tripped out speed.

Spin begins with the laid-back but constantly shifting 'Global Overgroove'. Its breakbeat science moves in & out of DSP glitch-work & dub reflections. When its slinky bassline melody arrives, a certain dread sets in.

'Weyward Fold' drops into a driving, hard-edged chug, threaded with snippets of Malcolm X's disobedient pedagogy. The momentum carries into 'Headnod Doctor', where the bass distortion thickens & the cymbal circuit is overloaded, landing somewhere between Hip‑Hop grit & metal weight.

Side A ends with the downtempo roller 'Dogs and Moles (Skylurk Mix)'. The familiar break drifts into new territory, pulled along & wrapped in a slap-back echo. A quirky melody cuts through the haze, giving the track a fresh tilt. The mulch of the track forms a steady, unhurried pulse.

Spitbender's spacious atmospherics & groove-focused approach comes further into focus on 'Nothing Here But the Recordings'. Creating his own chapter in the book of Trip Hop, his minimalist touch is laid out in full.

'Force the Hand Ov Chance' pulls Boom Bap gently into dub mechanics, letting space do the heavy lifting. Its simplicity hides a deep pocket.

Returning to broken-up distortion, 'Mirrors of Flesh (Dub Mix)' finds Spitbender using the mixer as an instrument to push & pull the heavy drums of Benjamin Brejon of Méchanosphere alongside the voice of Rui intoning the title phrase.

Sitting between the album's two poles, 'Out Take Dub' fuses the clipped‑obsession timbres of Spin's heavier moments with its blissed out flow. Feedback & distortion are welcomed & drawn long.

In the end, Spin hits like a fully formed statement—lean, focused, & unmistakably Spitbender. Every track pushes its own angle, but together they land with a clarity that feels earned. It's a sharp marker in his trajectory, & it leaves a charge in the air.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Near the end of fifth grade, Eli Edwards’ mom gave him $20 and told him to go find a friend. His team had won its soccer game that day, so they were out celebrating at a local pizza parlor with games. But, more importantly, there had been one other Black kid that day on the pitch in Spanaway, WA, a Tacoma suburb and military-base town at the rainy northwest corner of the United States. That kid just happened to be Xayvien Young. An instant deep connection was formed between Edwards and Young—Eli and Xay, as they prefer to be called were inseparable— and now twelve years later they are the electrifying, boundary-skipping duo Casi.

Along the way, Eli had relocated to Los Angeles with the indie rock band Enumclaw he had helped found, but he found himself flying home maybe a little too much. He was ostensibly visiting his girlfriend, but he spent most of his time with Xay. They cut tracks in every bit of free time they found until they had an epiphany: Maybe this music they’d made together for a dozen years was actually something special. Casi’s 10-track, self-titled debut out on Carpark Records is the electrifying proof they needed.

On the record, they enthusiastically explore every musical interest they have ever had—explosive hip-hop and unbridled hardcore, high-gloss nü metal and a little bit of emo—as a pair. These songs don’t ignore genre lines; they delight in destroying them, in finding ways to slam hip-hop and hardcore, emo and nü metal together until it seems illogical that they were ever apart. Take “Jumper,” where heavy metal guitars and face-kicking drums stir the moshpit for rabid verses about crushing ICE and the lessons you learn riding the poverty line. And take closer “Bridges,” where the melodic imprint of Deftones meets the relentless confessions of Death Grips. Here are the hard, funny, and loud stories of two 23-year-olds, screaming about the world over a breathless composite of all the music they’ve ever loved.

When Eli was in Los Angeles, Xay missed his friend. But in his absence, he also felt the spark of inspiration. Music was something that had just been their childhood hobby, but now Eli was in a rock band that had press accolades and tours. He got serious about the craft. Eli would write about the dislocation and isolation he felt in California, while Xay would document the hardships of being a young Black man with a complicated family while working menial jobs in Spanaway.

This isn’t a coming-of-age album for Casi; it is, instead, a raw and riveting snapshot of that process, painful as it can be. “Eleven87” is a breakup song, a soul beat springing beneath arching emo vocals. And “Intrusive Thoughts” treats that topic like a punching bag, Eli and Xav fighting against the mental habits that keep them down. These 10 songs instantly close that gap.

One of the true, undisputed pioneers of Dutch techno, Steve Rachmad appears on Dekmantel for an EP of peerless machine music. On the 3-6-9 EP, the artist also known as Sterac, Parallel 9 and many other names plies a powerful trade in funked up, gritty and soulful techno made the proper way.

The connection between Rachmad and Dekmantel reaches back many years via his frequent appearances at the Dekmantel Festival — he has two performances at the 2026 edition as well as sets at Dekmantel Selectors lined up later in the summer. The 3-6-9 EP lands ahead of an album and world tour that marks 45 years in service to electronic music, nodding to Rachmad's earliest roots in electro funk through to his day-one embrace of house and techno as it made its way across the Atlantic from Chicago and Detroit.

There's a rowdy, rave-spirited energy to the synth hook bucking its way through the centre of '3 Creation Energy', coming on in brassy tones laced with artful distortion while the drums dutifully jack the way they ought to. There's a more linear, pressure cooker quality to the tidal filter work guiding '6 Physical Manifestation' to its own energetic peaks, while '9 Completion and Delivery' surfs on coursing waves of arpeggiated lead lines before breaking through to the oceanic calm of grandiose pad tones.

There's no mystery to unpick here — this is quite simply techno perfection made with the instinct and experience of a master of the form, whose life is synonymous with every inch of the culture.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

The album was pressed on double 180g black vinyl.

Limited edition of 200 copies worldwide.

J Dilla passed away 20 years ago. Metro himself paid tribute to the production master.

"Donutroit" is a meticulously crafted tribute to James Dewitt Yancey. Reinterpretations, reworks, and original compositions – a total of 24 tracks produced by Metro, who pays tribute to the legend with this album. Maciej returns with the album after a somewhat lengthy break, but he does it with a bang. This kind of hip-hop with soul elements has been unheard of in Polish music for a long time. This is the first Polish full-length tribute to Dilla. The guests are few, but they are impressive. Emade himself plays drums on two tracks, and Immortal Onion reworked one of James's iconic recordings.

Dawid ObyOby Frańczak is responsible for the full artwork.

The legendary Polish underground label JuNouMi Records is responsible for the pressing.












l 12: The Look Of Love (Medley No. 1) feat. Immortal Onion










[w] 23: The Look Of Love (Medley No. 2) [feat. Immortal Onion]












[l] B7: The Look Of Love (Medley No. 1) [feat. Immortal Onion]










[w] D4: The Look Of Love (Medley No. 2) [feat. Immortal Onion]












[l] B7 | The Look Of Love (Medley No 1) [feat. Immortal Onion]










[w] D4 | The Look Of Love (Medley No 2) [feat. Immortal Onion]

Vincenzo De Bull follows up his initial 4 Kicks EP with a truly fitting set of 4 smooth grooves on Kicks 4 Life EP.

Kicking off the A Side is the energetic bass workout of The Jaunt. Driving mix of filtered loops and persistent bass carry this along with accented punctuation courtesy of trippy oscillating vocals, pianos before it’s all brought home post-break with a lovely pad driving more tension to add to the effortless progression. B2, Make It Smooth will contain some recognizable elements for most of the selectors out there, before the cut develops into a new context which will immediately remove your previous associations and make way for a fun, new groove – we don’t have to tell you, but Vincenzo does a superb job of ‘Making it smooth.’

Flip to the B Side for smooth R&B style house vibes courtesy of Move Your Body, an ethereal workout grounded by a solid low and a tugging looped groove, interspersed with enough energy via vocals to keep the floor engaged and moving, but at a lower energy level. Perfect to move into later nights. Tatsuro Lovers rounds out the EP with a midtempo chugger perfect for starting the evening, groovy pool parties or just sitting at home, enveloped in the heady, swirling vibes underpinned by crisp drums and deep low end.

Planar Traits adds to the Spectral Bounce catalog with SPEC08: Distance EP. Since 2021 the Stockholm-based artist’s creations have combined evocative soundscapes with dancefloor functionality. Here he steps up with four hydrographic cuts spanning the groove-led, the mysterious and the cerebral.

Beginning the expedition with the type of psychedelic and lithe tech-house for which Spectral Bounce is known, the A-side is glistening with aquatic shimmer. “Variations in Hue” and “Distance” are club cuts embellished with mystical melodies and sonar pulses, both propelled by chunky drums and driving sub frequencies.

The B-side goes deeper, revealing a more contemplative zone in which soft echoes of Detroit (“Bloom”) are spliced with 1990s Artificial Intelligence sensibilities (“Never-ending Light”). A perfect soundtrack for living room transcendence, as much as pelagic immersion.

SPEC08 — Dive in!

Credits:
Words by Cameron Leaf
Art by Susanne Janssen
Mastering & Cut by Analogcut

Reissue of a lost hit by the British composer Kevan Frost, now championed and given a brand-new Dub Mix by Mark Grusane. Up for pre-order now and due late-March on our RSS series!

Kevan Frost grew up in Jos, Nigeria where he became a self-taught musician and developed a deep understanding of rhythm and melody. In the 90's, Frost was a session musician for many studios in London, one of these was unable to pay him so they gave him a few free days in the studio and the result was "Give It Up" as he explains:

"I went in and recorded all the music in a day, and the vocals and mix on day two. This was the days of only having 24 tracks available on tape so I programmed the drums, bass and keyboard parts on C-Lab which was only available on the Atari computer and the samples I made on my Akai S-1000 sampler. Full of floppy disks I went in early on day one and printed all of this on tape. I then recorded the guitar parts. Day two was me layering the lead vocals and Backing vocal parts as quick as I could before starting to mix."

However, the track fell into obscurity with no major label backing or marketing budget. A friend of Mark Grusane’s came across it in Brooklyn at the African Record Centre and it eventually ended up in Mark's hands and from there he edited the original track to a more stripped-back dub mix and began playing it out to great effect on dancefloors.

After a bit of digging, we tracked down Kevan and a fully licensed reissue is due on Rush Hour in late March 2026, including a brand new ‘Dub Mix’ from Mark Grusane.

2026 Repress

Alarico returns to Mutual Rytm with his 'Drops Of You' EP, packed with his mind-bending signature rhythms while focussing on a more minimal and atemporal approach than before.

Milan-based artist Alarico has firmly arrived on the world stage in recent years. Taking cues from the harder realms of techno of the 90s, he adds his own quirky rhythms and quickened sense of groove to showcase his modern take on the genre. Building on material dropping via his own Katana Records, with high-profile support from bigname DJs across the scene, he breaks new ground again here on this compelling new EP as he returns to SHDW's label Mutual Rytm with 'Drops Of You'.

Excellent opener '0 Kelvin' races out of the blocks with wiry synths and percussion that sounds like knives being sharpened, all over tight, punchy techno drums. 'One More' then gets more twisted with freaky synth line scurrying about the mix while hammering hits and bouncy drum programming races onwards into an unknown future.

'Asma' slips into a deeper but no less impactful groove - the tightly coiled drum funk is overlaid with soulful vocal whispers and militant snares that cannot fail to sweep dancers away. Next, the slick 'Sunburn' keeps the pace high and is another warp-speed techno excursion with bold drum patterns and dry hi-hats cutting up the beats. It's a fulsome sound fleshed out with great synth detail and euphoric vocal cries, before closer 'Drops Of You' layers broken beats, vocal snippets and psychedelic synth colours into an intense and emotional workout.

Alongside the vinyl cuts, three digital-only offerings are also loaded into this one as a trio of treats in the form of 'Sino', 'What For' and 'Erased', with each track harnessing pacy, energetic rhythms, a mix of bright and murky sonics, and tunnelling grooves crafted for maximum impact.

Alarico 'Drops Of You' drops via Mutual Rytm on 8th September 2023