quête:the end

'winterswell' threads together raw emotion, playful rhythms, and analog warmth. Following singles on Tresor and Intercept Records, Kat pulls no punches with her first EP. "Manavgat" hurtles you down a dirt road at dusk, brooding and atmospheric, while "Baby I Know What You Want" threads vocals through rolling percussion and a driving bass as the club thrives in unison. Remixes extend the EP's landscape: Mr. G reshapes the material into grainy, coded dub house textures, while Ben Kaczor emphasizes low-end depth and taut, hypnotic tension. 'winterswell' is a vinyl release where intimacy, texture, and rhythm converge with confidence and nuance.

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Mord
Rotterdam
Herdersmat
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Funky Trip steps into the spotlight with the hypnotic “London fog EP”. Crafted for collectors and late-night selectors alike, this release unfolds a deep, immersive journey through hypnotic underground soundscapes. Built on emotion and intention, it captures the deeper essence of the club experience, where sound, space, and human connection become one.

Pressed on heavyweight 180 gram vinyl for enhanced audio fidelity and durability, every detail is preserved - from rolling low-end grooves to evolving atmospheric textures. The artwork mirrors the sonic identity: dark, minimal, and cinematic, evoking movement through space and time.

Electro as its best! SS001 marks the first transmission from Serpiente Sounds, a debut 12" split that keeps it lean, direct, and floor-focused. Viewtiful Joe handles the A-side with two cuts that balance Electro snap and Detroit discipline: clean drum architecture, crisp low-end, and synth lines that feel both futuristic and functional. On the flip, Subversive brings two late-night weapons with a colder edge and a deeper swing. SS001 is a debut statement with zero filler, a compact toolkit of Electro/Detroit tools for the booth.

Budakid releases Dreams Stretched Beyond, his debut album, on July 3. The Dutch, Berlin based producer, DJ, singer, and multi instrumentalist continues to construct his music from the ground up. With Flores, he has established a platform to fully realize that vision. Following releases on labels associated with Guy J, Solomun, and Sasha, he has built a strong reputation in the industry over the years. This LP consolidates that trajectory into a lush, vivid body of work, balancing his roots in dance music with his own voice and signature productions.

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.

Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from DJ Sneak, Wamdue Project, Louie Vega (Sole Fusion), Essence and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

At the core of the creative process behind “HPC” and “Bor3d” lies meta-irony, a quality that permeates much of today’s digital content landscape.

Both tracks are a deliberate attempt to push the sound toward a barely perceptible absurdity and ironic unseriousness in their interpretation of well-familiar styles of dance club music. It is a play with form, expectation, and recognizability — balancing sincerity with sarcastic exaggeration.

Okay
Okay is built around interruption. Voices, fragments of dialogue, yawns, irritation — people seem to step inside the track uninvited. Someone is bored, someone is annoyed, someone tries to stop the flow entirely. Just like in real life, the process is constantly disrupted. The track reflects the experience of being surrounded by opinions, noise, and skepticism — especially the kind that will never be convinced, no matter what you do. “Okay” becomes a quiet, ironic response to this pressure: not agreement, not approval, but endurance. The track continues anyway.

Tripatura
Tripatura is a fictional creature — a warped echo of cryptid mythology. In this narrative, Tripatura doesn’t simply exist, it hunts. Once it finds you, it drags you into an endless trip with no exit point. Time stretches, perception blurs, and the track itself becomes the trap. Its prolonged, unresolved ending mirrors the experience of being stuck inside a loop that refuses closure. Tripatura doesn’t rush. It lingers, slowly pulling you deeper, until the trip no longer feels temporary.

2026 Repress

A landmark release for both the label and its founder as Kasra releases his debut solo EP. The Ski Mask EP features 4 tracks of rolling low end and marks the start of a new phase for him to make his mark as an artist as well as DJ.

Kasra says, "After 16 years of running the label I thought it was time I released a body of work of my own. It's quite daunting after all the incredible music the artists have given me to be doing this for the first time. I hope you enjoy it for what it is: raw, honest drum and bass."

(die-cut sleeve, 45 RPM) Jef Neve, Belgium’s most-famous jazzpianist, media-personality Kobe Ilsen and topproducer Serge Ramaekers are VALKYRIE.

At the end of Spring 2026 a full album of VALKYRIE will be released and the band will start touring. As a tastemaker of what they are up to, they release a unique version of THE FIRST REBIRTH, originally released by Jones & Stephenson in 1993 on Bonzai Records.

To celebrate the birth of this new supergroup, a release in a very special packaging is due for March 2026.

Besides the original mix, there’s also a ravemix by harddance/hardstyle-hero MI37 and an unplugged version where the original melodies are stripped to the bone.

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.

Daskal debuts on DJ Tennis’s Life and Death label today with the release of “Changes,” the first single from his forthcoming album OD, out March 6. The release marks a defining moment for the producer and composer, whose work moves fluidly between contemporary dance, film, and electronic music, and represents his first full-length statement reconnecting his compositional practice with the dancefloor.

“Changes” arrives alongside a striking accompanying video directed by award-winning filmmaker Tamir Faingold, featuring dancers from the world-renowned Batsheva Dance Company. Rather than functioning as a traditional music video, the piece uses contemporary dance as its primary language, translating the emotional charge and magnetism of nightlife into movement. Together, the single and visual introduction frame OD as a bridge between club culture and the expressive traditions of modern dance and composition.

A classically trained composer with deep ties to the world of choreography, Daskal has spent recent years creating original scores for institutions including Los Angeles Dance Project and the Royal Danish Ballet, while simultaneously developing a parallel body of work across ambient and experimental electronic music. OD emerges as a convergence of those paths: a ten-track album shaped as much by physical movement and spatial awareness as by club tradition, positioning Daskal between concert hall, black box theater, and late-night club environments.

Recorded and mixed primarily using vintage hardware — including a rare 1980s German mixer in a high-end Tel Aviv jazz studio — OD reflects a deliberate shift away from purely atmospheric writing toward rhythm, repetition, and physicality, while retaining the precision and restraint of his compositional background.

The amount of quality music Burnski has produced, A&Red and released in recent years is off the charts. His labels are some of the most played in the underground right now, but that hasn't stopped him from starting another one here with Silhouette. Mundy is a new name to us, but has some serious chops on display here with six stylish cuts that explore the intersection of garage, tech and minimal. The synths are silky and the vocal samples are expertly placed to give each groove real character. 'Real Love' is deep and r&b tinged, 'Find You' has a dark low end and 'The Middle' is all about the filthy bass. Pure heaters.

Cinthie’s Collective Cuts sub-label of her 803 Crystal Grooves label welcomes the UK’s Black Eyes onto its roster this March with his ‘Hydrocity Reflex’ EP, comprised of four original soul drenched House Jams.
Cinthie’s 803 Crystal Grooves Collective Cuts welcomes Black Eyes with a fresh four-track EP that distils the Manchester-born, Berlin-based artist’s signature aesthetic into its purest form. Fusing deep, trippy and soulful house with a raw, Detroit-leaning sensibility, Black Eyes channels the influence of House music’s roots into rolling rhythms and fluid textures alongside shaped by his enduring love of water. Now firmly embedded in Berlin’s underground while carrying the grit of his northern roots, he delivers a release that feels both immersive and driving a natural fit for 803 Crystal Grooves’ dance floor focused sonic vision.
Opening the EP is ‘Can You Dig That Depth’, an emotive slice of House driven by saturated keys, soulful vocal lines, heavily swung drums and a buoyant bassline. ‘Pressure Malfunction’ follows, stripping things back to organic percussion, sweeping filtered funk loops and intricately processed spoken-word chants. The B-side begins with ‘Loyalty To Tha Deep’, living up to its name as it embraces classic Deep House sensibilities through choppy, airy chord progressions, hypnotic breathy vocals, fluttering melodies and slow-slung, crunchy drums. ‘Funky Oxygen’ then brings the release to a close, channelling the spirit of Motor City House with a refined blend of cut-up samples, shuffled percussion, jazzy keys and a snaking bass groove.

Not long after the well-received 'Bottlemess Brunch' and 'Billa' dropped, the FLDIN2 label is back with another killer drop. This one, we're told, draws on Fold producer Rob's early immersion in pirate radio and record-collecting years in suburban London during the early 2000s. Lovers of Ben UFO, Joy Orbison and Floating Points will all be into the lo-fi designs, not to mention the irresistible garage, tech and dub swagger he packs into these jams. 'Lotion' is a crispy, tightly coiled and skeletal UKG sound underpinned with wobbly low ends and sprinkled with chopped vocal fragments that make for a ghostly groove. 'Soft Launch' is fuller, with a more boring emotional impact from the yearning vocal stabs that are teased and buried throughout the mix.

Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.

Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.

Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.

Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.

In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.

One of the UK’s rising talents in recent times, J6 continues his upward trajectory with an enormous four-tracker on underground fan favourites, Locked In Dam. The party starting crew go hand in hand with the refined J6 ethos, as he delivers a dynamite selection of tracks for your record bag. His familiar low end driven sound, combined with tinges of acid and futuristic textures moving between house and modern electro, shapes the ‘Devil Baby’ EP into a cohesive and powerful statement.

The title track is built upon powerful drums and squelchy, spaced-out tones, combined with trippy vocal stabs from Martina, who features on the record. This is prime J6 territory and not to be underestimated. Next up, ‘Biohazard’ introduces mysterious synths that create a transcending atmosphere, shifting the dance floor into the next gear with further twisted acid movements. On the flip side, the Manchester based beatmaker teams up with Ben Gough for ‘Time Capsule’, delivering pacey energy that never lets up, driven by nostalgic tech house drums and icy hi-hats. Rounding off the EP, ‘Emergence’ simmers with an emotive dark energy throughout; if we weren’t dancing with the devil before, we certainly are now.

A certain tip for the tastemakers amongst us, these are four dynamic dance floor cuts to be shared deep within the dark realms of the night.

So… what are we actually supposed to tell you about HCL? Honestly, it’s a pretty nice story. A collaboration the way it’s meant to be.

HCL stands for Horkheimer, Consti aka Zeitstill, and Delenz — not hydrochloric acid, but liquid music. One shared idea of sound, without a fully mastered plan. Most of the tracks were born during long studio sessions — long nights, extended jams, ideas taking shape naturally. No big concept, just working it out together and seeing where things go (or not).

After the first two HCL tracks found their way onto various samplers — including the 25 Years of Live at Robert Johnson compilation and Freeride Millennium’s own Queer Base Vol. 2 — it felt like the right moment to take the next step and release the first pattern. Not as a conclusion, but more as a checkpoint. This is far from the end. There are more patterns, more sessions, more ideas already waiting to be published.

Describing the genre is, as always, not that easy. It drifts somewhere between techno and all the other things orbiting around it. Purely electronic music, rooted in the club, but not obsessed with functionality. In a way, it reminds us of the early 2000s — deep, slightly twisted, hypnotic, driving but never aggressive. Music that takes its time, creates space, and pulls you in rather than pushing you forward.

For moments that are meant to last — tracks you don’t want to hear mixed out. For getting lost on the dancefloor, for forgetting the noise and madness outside for a while, for drifting into yourself and letting time fly. Honest club music, built for immersion.

Enjoy the music. Enjoy yourself. Love.

Yours, HCL

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

reActive Lab proudly unveils its first vinyl release, marking a defining moment for the label's evolution. reActive Lab Collective 001 brings together four of the label's core members - Chrivu, Dragne, Flavius, and Pattern Tusk - to craft a 12" that perfectly captures the collective's sonic DNA: deep groove, subtle minimalism, and timeless house energy. The record opens with Chrivu - "Cell Division", a vibrant house piece driven by a confident bassline and crisp percussive motion. Built with clarity and flow, it sets the tone for a journey anchored in groove and precision. Dragne - "Get Funk" follows with playful rhythm and low-end warmth - an irresistible combination of swing, bounce, and character designed for the dancefloor. On the flip side, Flavius - "The Interview" introduces a more introspective dimension - stripped-down yet immersive, balancing atmosphere with emotion through delicate textures and steady rhythm.

Closing the release, Pattern Tusk - "We Went On" blends soulful depth with minimal intricacy, offering a smooth, driving finale that resonates with both feeling and functionality. reActive Lab Collective 001 stands as more than a debut - it's a declaration of artistic identity. A 100% in-house release from reActive Lab, crafted with authenticity and intent. A promising first step in what's clearly a long-term commitment to sound, craft, and community. Short Description: reActive Lab makes its vinyl debut with reActive Lab Collective 001, a powerful VA featuring Chrivu, Dragne, Flavius & Pattern Tusk. Four deep and groovy house cuts blending energy, warmth, and minimal precision - a pure statement of the label's identity.

2026 Repress

To enter the world of Sally Townes and Roberta Vandervort is to be swept away into a dimension of unique sound. Embellishments of smoldering jazz funk, seductive soft rock, breezy AOR, and misty folk, all paint a picture of the worlds which they inhabited; from the endless flat expanse of Dallas, the hot and humid bustle of a Bourbon Street night club, to the late night buzz of a Los Angeles studio session.
While Sally Townes and Roberta Vandervort never crossed paths in our reality, their supernatural union on this compilation feels like the meeting of old, yet familiar friends, set in a parallel dimension with lives intertwined. The songs feel like old friends, too — a comforting time capsule of the popular sounds of the era, yet offering something completely new. Bridged by the striking similarities in their musical confidence, vocal conviction, and boundless creativity, both women encapsulate an uncompromising passion for living, loving, and creating on their own terms.

DJ support: Soul Clap, Walla P (Voyage Funktastique), Moniquea

The first lady of MoFunk Records is also considered by many to be one of the queens of modern funk music. Her latest, “Womp In My Spirit,” fuses a wide range of styles within its ten tracks and shows the true versatility of funk music. On one end, the deep g-funk bounce of songs like “Womp In My Spirit” & “However You Are” show you Moniquea's west coast roots clearly, while uptempo boogie bangers like “Get It Together” sit in the lane that MoFunk is best known for. Tracks like “Red Light” go in a more dancey direction, welcoming the sleekness of house music to mingle with g-funk whistles and rubbery synth bass, a track that recently caught the ear of Soul Clap and was remixed by them on their recent “Soul Clap vs. MoFunk” EP. The majority of production on the album was handled by MoFunk head honcho XL Middleton.

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

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

Both multi-instrumentalists and seasoned producers, J and Peter took an all-hands-on-deck approach to these original collaborative tracks. The sonic seeds of "Underappreciated" and "Facile" were planted by Peter, JKriv cooked up the demo of "Over Suffa", and all three were completed together in J’s Brooklyn production studio. With live-recorded guitar, bass, analog synths, and drums/percussion by and a cohort of Brooklyn accomplices, the Facile EP marries live elements with modern club-ready production.

The punchy horns and no-nonsense vocals on "Underappreciated" come via Peter’s long-standing stage and studio connection with Ibibio Sound Machine, Favorite Recordings staple singer Olivya delivers the soulful EP title track performance, and Samy Love’s insistent vocal on "Over Suffa" is a pleading message to end the war and suffering in his native Cameroon.

With a remix of "Underappreciated" by French producer extraordinaire Yuksek, songs in both English and French, and influences ranging from boogie funk, 80s R&B, and classic Zouk, the Facile EP is a varied and dazzling collection of music for both listeners and DJs alike.

Ten years after the cult debut, Phil Kieran returns under his Le Carousel alias with a dazzling follow-up. The Humans Will Destroy Us blends shoegaze-inspired electronics, lush analogue textures, and dreamy synthscapes into a rich, cinematic journey. A colourful evolution of the underground classic - emotional, timeless, and deeply human.

Nala Sinephro veröffentlicht ihren ersten Original-Soundtrack für Benny Safdies Film "The Smashing Machine", der vor dem offiziellen Kinostart am 3. Oktober bei den 82. Internationalen Filmfestspielen von Venedig (mit 15-minütigen Standing Ovations!) Premiere feierte. Der Film erzählt die Geschichte des legendären Mixed-Martial-Arts- und UFC-Kämpfers Mark Kerr. Die Hauptrollen spielen Dwayne "The Rock" Johnson und die Oscar-nominierte Emily Blunt. Die Filmmusik wurde von Nala Sinephro komponiert, produziert, arrangiert, gemischt und gemastert. Mit dabei sind auch ihre langjährigen Weggefährten James Mollison, Nubya Garcia, Lyle Barton, Dwayne "Wonky Logic" Kilvington, Morgan Simpson, Natcyet Wakili, Mark Mollison und Sheila Maurice-Grey. Außerdem wirkt das Londoner Orchester Orchestrate mit, das bereits 2024 die Streicher für Sinephros hochgelobtes Album "Endlessness" lieferte.

Obwohl Sinephros Musik – meditativ, ätherisch und gewaltig – für eine Wrestlergeschichte paradox erscheinen mag, fand Marks Geschichte bei Sinephro Anklang, der die verborgenen Sanftheiten und Emotionen der Geschichte aufgriff. Die Filmmusik klingt immer noch unverkennbar nach Nala Sinephro – weitläufig mit gleichmäßiger Wärme, wunderschönen Streicherarrangements, leichten Themen, gemächlicher Harfe –, wurde aber intensiviert, um den Themen des Films zu entsprechen: Druck, Verlustangst, Sucht, Schmerz, vulkanische Beziehungen und das Gefühl des Hochgefühls.

Ascendent Dutch duo LUSU shoot skywards with a stunning solo Drumcode release ‘Move 2 the Groove’. ‘Move 2 the Groove’ is supreme. The title track picks up from where they left off with ‘DIZZY’ (with HI-LO) in terms of dancefloor impact. Marked by a hypnotic rap line, elite drum programming and a thrashing mosh pit energy, this is a percussive beast that thrills with each listen. ‘Afterlife’ shows their range, a stunning cut marked by old skool chords and celestial end-of-night energy. Bravo!

Super Rhythm Trax are proud to present this reissue of one of the most loved, most underground and most sought after Breakbeat Hardcore records from 1991. Raw rugged and authentic, no silly chipmunk vocals or twee piano here, oh no!

Carefully remastered from the original dat tapes, both original versions of Underkut “Both Ends” are now available at a reasonable price after 35 years!!

Since its original release in 1991 it quickly gathered legendary status with it’s super slamming breaks and ‘that’ huge Bassline, it doesn’t get any better than this.

On the DAT tape, we also chanced upon an unreleased, unheard version, and We include this unheard vocal mix as an ‘of it’s time’ artefact for the collectors, as it really accentuates the record’s obvious HipHop leanings and there are parallels to be drawn with the whole Britcore movement of the time, where crews like Hijack, Gunshot, Cash Crew, Demon Boyz and London Posse were flourishing.

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Lemon Vinyl. Black Screen Records and Kaizen Game Works have once again teamed up for the vinyl repress of About That_ Paradise Killer B-Sides, the follow-up release to Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer, which has proven to be a true essential release for itself. The record is featuring three new songs, vocal tracks, instrumental versions, remixes and piano arrangements along with a number of amazing guests, which are Fiona Lynch, Kyle Murray-Dickson, Fabian Hernandez, Ged Cartwright, Thomas Temple, MEEBEE and Okumura. Now available on lemon coloured vinyl with gorgeous cover art by José Salot. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.





e 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]





[e] 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]

After the success of Made in the Emirates – Volume 1, which documented a wide spectrum of the UAE’s independent music scene, the series returns with its second installment.

Made in the Emirates – Volume 2 shifts focus to the country’s electronic underground, bringing together 8 original tracks spanning deep house, breaks, techno, and experimental club sounds. A snapshot of a thriving scene, built by artists shaping it on their own terms.

The compilation brings together a cross-section of artists shaping the UAE’s electronic underground today:

- Tarik Omar opens the record with Sample Sunday, reflecting his deep-rooted approach to rhythm and sampling.
- Adam Rahman delivers K Lock, a tightly wound club tool driven by percussive precision.
- Sons Of Rhythm revisit their catalogue through a Rhythm Plate Italo 90 Remix, bridging classic house influences with a forward-facing Italo touch.
- Megadon Betamax - a co-founder of boutique imprint Voyeurhythm Records brings Maha Monastery, an atmospheric funk-infused cut that leans into experimental yet groovy electronics.
- Curator Shadi Megallaa contributes Word Jazz, reflecting his long-standing role in shaping Dubai’s underground through Ark to Ashes and The Flip Side.
- OHFFF a project born from spontaneity, sonic curiosity and sequencer experiments. Dwelling is a club-friendly.
- Tacit presents The Lakritze Suite, a multi-layered, hard beat composition that moves between abstraction and industrial structure.
- Closing the record, Nasrawi’s Intention Dub channels deep, and dubby, grounding the compilation in a reflective, low-end driven finale.
- Curated and compiled by Shadi Megallaa (Ark to Ashes / The Flip Side, Dubai).

LATCh Records returns with a refined and forward-thinking release, welcoming Vlad Arapasu for a record that captures the depth and versatility of his sound. Moving between techno, house, and minimal, Vlad shapes a collection of tracks driven by groove, detail, and atmosphere—equally suited for the dancefloor and deeper listening.

Malin Genie delivers a dub remix, reworking the original into a more spacious and hypnotic journey, where subtle textures and flow take the lead.

The release is completed with abstract artwork by Adrian Calin, echoing the layered and open-ended nature of the music.

Supported by Rhadoo

Pearl Flip Horizon Vinyl. Europa-Version, limitiert auf 500 Exemplare. Seit 2013 vergriffen, ist ,Never Ender" endlich wieder erhältlich! Mit neuem Artwork von SINC und remastert von Andy Clarke versammelt ,Never Ender" die Split- und EP-Veröffentlichungen von HWM aus den Jahren 1996 bis 1999.

Pearl Flip Horizon Vinyl. Europa-Version, limitiert auf 500 Exemplare. Seit 2013 vergriffen, ist ,Never Ender" endlich wieder erhältlich! Mit neuem Artwork von SINC und remastert von Andy Clarke versammelt ,Never Ender" die Split- und EP-Veröffentlichungen von HWM aus den Jahren 1996 bis 1999.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

We’re proud to present the latest offering from Promising/Youngster & UF0, on the sublime Deep Techno / IDM imprint out of the UK, Fourier Transform

A lush 4-tracker. Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio

Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. This is Uf0s’ (Sergio Garcia) second release on the label and when asked who he would like to be paired with, he wasted no time in suggesting fellow electronic musician and Spanish resident – Promising/Youngster (Diego Cardierno). This EP begins with P/Y’s “Random Memories” as tried and tested live by him last year and its big sound simply fills floors and gets feet moving. The second track of his is with a more subtle approach to the dancefloor but the analogue arpeggios and breaks still rock. Uf0 and his opening track “Sashita” uses vocals sparsely to create atmosphere and an epic soundscape. Ending the ep “La Musica Non Riporta De Te” opens with his trademark lush pads which drop into breaks, more well-crafted gentle melodies and of course “Bass”.

Between them both they have appeared on an impressive roster of underground labels - Wave Modulation, Analogica Force, Further Electronix, Adepta Editions, Altered Sense, Withold, Gated. Limited to 200 copies on marbled Eco vinyl, with painted sleeve, a sticker and an insert “Fun in the Sun”, giving you some interesting activities and experiments you can do using the power of the sun. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio.

Limited to 200 copies worldwide!

Worldwide Connexion (JGRVWAX007) is the seventh vinyl release on Junked Groove, bringing together five artists from four countries on one deep house / house record.

Side A opens with BMB SpaceKid, delivering an explosive cut driven by swinging percussion, vocal chops, and a heavy low-end. His beat-making roots are front and center, resulting in an undeniable dancefloor mover. Next up, DFRA & Nick Weaver take things into a more hypnotic territory: jazzy, minimal, and smooth, with flowing harmonies and subtle synth movements that quietly reveal a solid classical foundation behind the music.

On Side B, Detroit’s own Javonntte offers a raw house anthem. Pure groove, timeless energy, and that unmistakable feeling of being locked inside the track from the very first synth line. Closing the record, Junky Palms brings a UK-rooted groove built around classic house chords, layered with psychedelic and slightly tense synths. Cold Manchester air and rave nostalgia drift through the mix.

One record, four countries, five perspectives, one groove.

Limitiertes blaues 12“ Vinyl mit Siebdruck auf B-Seite inklusive 12“ Stickerbogen.
Artwork von Christopher Ian Macfarlane

Flying Lotus, der Produzent – auch bekannt als Steve Ellison – veröffentlicht Anfang März seine neue ‘BIG MAMA’ EP auf Brainfeeder: dem Plattenlabel aus Los Angeles, das er vor fast zwei Jahrzehnten gegründet hat und das seitdem Alben von renommierten Künstlern wie Thundercat, Hiatus Kaiyote, Kamasi Washington und vielen anderen veröffentlicht hat.
BIG MAMA fängt Ellison in einem Moment spontaner, ungezügelter Dynamik ein. Die EP ist dicht gepackt mit unterschiedlichen Sounds, Rhythmen und Effekten und liefert, wie er es selbst beschreibt, „experimentelle, maximalistische, hyperschnelle, elektronische Energie“, wobei sieben dynamische Tracks zu einer einzigen durchgehenden Komposition zusammengefasst sind, in der jeder Takt einzigartig ist und es keine Loops gibt.

Die EP, die innerhalb von zwei Monaten fertiggestellt wurde, zeigt Ellison mit einem deutlich anderen Ansatz bei seiner Produktion. Anstatt sich hinzusetzen und an einzelnen Tracks zu arbeiten, stattete er sein Studio mit einer Vielzahl neuer Tricks und Spielzeuge aus, nutzte Software-Synthesizer, um FM-, Wavetable- und Granularsynthese zu erforschen, sowie Second-Hand Drum Machines und verbrachte den ersten Monat damit, ein Skizzenbuch mit einzelnen Sounds für die nächste Phase des Prozesses zu erstellen. Von dort aus begann er, die akribischen Details der BIG MAMA-Welt aufzubauen, wobei er täglich nur 10 bis 15 Sekunden Musik fertigstellte, bevor er die Fragmente zu ihrer endgültigen Form zusammenfügte: ein mehr als dreizehnminütiger Strom des Bewusstseins, der weder durch Tempo noch Stil eingeschränkt ist.

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

Limited run 10” vinyl, arrives in risograph printed cover, with additional insert.

Elijah Minnelli returns to Accidental Meetings, following stand out records for FatCat Records, ZamZam & his own BCC imprint, which have garnered support and AOTY charts from The Guardian, The Quietus and The Wire to mention a few.

Minnelli has a unique dub-wise take, fusing eastern & western folk influences with cumbia and earthy drones, cumulating in his own distinct sonic world and his ever evolving lore. Within Ball & Socket, Minnelli pushes his own vocals to the forefront for the first time, compared to the more accustomed background approach previously. The record also sees a collaboration with Osaka's Kiki Hitomi (Waqwaq Kingdom, ex King Midas Sound) on Unkind, the two intertwining throughout. Fans of the pairing will be happy when it gets a re-up halfway through on the Discomix.

Ball & Socket is a personal record on many a level for Minnelli, and the result ends up as one of his most beautiful body of works yet. It finds it's home on the Bristol imprint Accidental Meetings, four years after his first outing on the label.

Design by Oliver Kay, photography by Aleksandra Sandakow, printed & assembled by The Error Press.

The No Fuss label hits release number 15 with another tasteful exploration of the deeper end of the house spectrum. This Various Artists 12" opens with James Curd's funky, loopy remix of Saison's 'Feel This', which is a subtle good time groove. Saison then steps up with a remix of Yuichi Inoue's 'Night In The Room', which is a jazzy and expressive sound that rides a fat bassline. Flip it over for Saison & Piem's 'Fall On Me', which is a timeless and driving deep house gem with fleshy chords and seriously weighty dub kicks, then Local Options' 'Catch Hell' is gritty and punchy but seriously hot.

Lincus is a new name for us, which is always exciting because it means you get to assess the sounds on their own merit with no extraneous baggage. Whoever is behind these betas on Slabs knows how to cook up heavy kicks. 'Feel The Rhythm' has a swagger and syncopation to it that is perfect for this label, with bold bass and hints of Kerri Chandler's kick to the kicks, all run through with some woozy late-night synth work. 'Pazazz' is another blend of low-end kicks and sleazy synths with some filtered vocals adding a touch of human warmth to what is a vibey cut.

If It Goes is Coflo at his Deepest. The Bay Area producer has long been making his name at the organic end of Deep House with releases on labels such as Tribal Winds, Ocha and Yoruba Records. If It Goes is a true spiritual journey. A glorious flute, flexing guitar and a whole host of other instruments create a soul touching groove on this fantastic track. If that wasn’t enough, the Deeper Mix is a thoughtful counterpoint where a demonstrative flute and expressive keys dominate. Sweden’s Cataleya Music shows just how deep they can go on the imaginative If It Goes. File next to records by Joe Claussell, Antonio Ocasio and Ron Trent.

Inner Creatures was the sophomore album from Irish producer and bass player Peter Vogelaar and now some of its key cuts have been remixed. The seasoned Charles Webster flips 'Mindless Youth' into a simmering piece of deep and organic house with wintery melodies that have already been getting support from big names like Black Coffee and Kolsch. As well as his dub, the Get Down Edits crew offer up some lush, gentle disco delights on their rework of 'Stole' and 'Inpulses' brings more layered harmonics and elegant strings before a new edit of 'Fantasy Lines' ends on a warm, cuddly vibe.

Dennis Huddleston is 36, a prolific ambient producer who releases albums on a prolific basis but never lets the quality levels dip. He often roams around different labels and for this one lands on Pure Life with six more sublime and subversive sounds. 'Pre-Dream Condition' is a slow awakening that sharpens your senses then 'Manual Dream Transmission' continues the heavenly ascent with lush arps shimmering across an infinite horizon. 'A Bright & Tranquil Light' is soft focus and beautiful and 'Night Language' brings sharper melodic focus with 80s nostalgia ripping through the keys. Two more long-form and unhurried but dense ambient soundscapes close out a pure escape.

For the ninth installment of his Hardspace series, Len Faki once again dives into his personal vault to present four reworks that bridge the gap between raw funk and modern, high-impact club dynamics. True to the project's ethos, Faki has selected tracks that have been reshaped through his specific sonic signature to maximize their energy on today's dancefloors.
A1. DJ Assault - U Can't See Me (Hardspace Mix) The release opens with a relentless edit of Detroit legend DJ Assault. Faki takes the raw Ghetto-tech energy of the original and embeds it into a massive, modern framework. While the iconic vocal hook retains its street-level grit, the Hardspace update provides a significantly tighter groove and a powerful low-end presence, propelling the track from the warehouse straight into the present.
A2. Myles Sergé - Trans Milenio (Hardspace Mix) With Myles Sergé, Faki explores more hypnotic territory. He extracts the driving, repetitive elements of the original and sharpens the rhythmic angles. The result is a prime example of the Hardspace sound: a deep, almost meditative loop that gains entirely new spatial depth through subtle filter movements and a crystal-clear percussion layer.
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix) On the flip side, Faki leans into the brooding atmosphere of Jad & The. As the name suggests, this mix is crafted for the "wee hours". Faki amplifies the "grimey" textures and contrasts them with a stoic, forceful beat. The trippy, almost menacing synth elements are rearranged within the stereo field, creating an immersive pull that is impossible to escape.
B2. Deepchild - Baller (Hardspace Mix) To close out the EP, Faki brings the jacking spirit of Deepchild's "Baller" back into the ring. Through meticulous re-arrangement and quantization, he gives the track the "tightness" essential for a modern DJ set. The playful, bouncing synths remain, but are now grounded by a heavy-duty beat foundation.
H009 is a hand-picked collection that demonstrates how Len Faki unites diverse musical personalities and eras under the Hardspace umbrella. Whether it's raw ghetto vibes or hypnotic deepness, every track has been transformed with technical precision and deep respect for the original to meet the demands of global dancefloors.

Fides Records is ready to introduce the 4th chapter of the10-year anniversary series with. X4 leans into momentum and contrast with its hard-groove pressure, dub-chord depth, and melodic release that showcases a side of the label where functional club tools and emotional storytelling sit naturally together.

Side A begins with Rebecca Delle Piane’s “Genomica”, a driving techno train powered by tightly layered elements and rhythmic tenacity, marking another step forward for one of Italy’s most exciting rising artists. Rorschack follows with “Primeriti”, weaving dubby chords and rolling basslines around a haunting female vocal. Closing the side, Berlin-based SLV lands with “Ritual Resonance”, a hard-groove banger that fuses percussive urgency with dub-chord sophistication.

Flipping to Side B, OFF GRID’s “The Roots” stands out as a colorful, mental hardgroove tool: elegant in detail yet built for drive, striking a heady balance between control and impact. Francesco Devincenti’s “Joanaz” brings trance tinged melodic techno with harmonic depth and cinematic intensity, opening the door to a more emotive register. The record closes with Endrew’s “Alright”, a powerhous

To honour the enduring appeal of a great musical rework, Hell Yeah is launching The Art of Remix. This essential new series collects the best remixes from a range of label favourites. First up is Japanese downtempo master Calm with exclusive, never-before-on-vinyl versions of originals by Cantoma, Aura Safari, DJ Sofa’s Dream Baby Dream, Seahawks, Gallo, Yuichiro Kato and more. The release comes with rich liner notes by the authoritative Dr Rob from Ban Ban Ton Ton, and a second volume from Is It Balearic's Coyote will follow soon.

Remixes have always been at the heart of Hell Yeah's output as a way of reworking classic sounds into different contexts, allowing artists to explore outside their usual remit and also to introduce new talents. Clam has long perfected the art with his famously laidback takes on all sorts of Balearic, house, dub and acid under the Mellow Mellow Acid subtitle. He's remixed many a Japanese legend but also a wealth of artists from across the world, and eight of those reimagined gems balance euphoria with solitude on this first volume.

First, his take on Cantoma's 'Way To The Sun' infuses drones and chimes with bubbly acid. 'Sur Mon Balconett' shimmers with Spanish guitar and sultry sax, ghosts of yesterday still shuffling. 'Banana Trance' jolts with breakbeats while taking a Balearic leap into hedonism. Mininn’s 'Vertigo' drifts dubwise, from monastic chants to operatic bursts. Maho’s 'Bakuhatsu' growls dark and sleazy as acid and riffs collide, 'Abysso' floats with strings and sirens in symphony, 'Blue Surround' lulls before exploding with jazz fire and Kato’s 'Kiss of Life' closes with a cosmic, romantic serenade. Calm's The Art of Remix sets a high standard for a series which will soon turn to Coyote and Scandi-house great Bjorn Torske.

SNOMIR is the collaboration between Mirko Iobbi and Sabatino Matteucci, blending live musicianship with clubfocused electronic production. The A-side features “Air” and “Fire,” two jazz-driven house tracks where expressive sax lines glide over warm, groove-led rhythms. Organic, fluid and built for movement. On the B-side, “Caveman” shifts into deeper dub techno territory. Hypnotic structures, textured low-end and sax riffs woven directly into the sonic fabric.

The accompanying remix pushes the track further inward — stripped back, immersive and late-night focused.

Politics. Hatred. Endless war. We doomscroll as our rights are stripped away. Bombings. Kidnappings. Mass shootings. The nightly news is a litany of brutality. Assassination. Subjugation. Deportation. We argue with each other while the rich get richer and cruelty is normalized. These are just a few of the reasons why the title of The Casualties" new album is Detonate. Detonate is the second chapter in a new epoch for The Casualties. As their second album with David Rodriguez at the mic, it solidifies the vocalist"s partnership with drummer Marc "Meggers" Eggers and guitarist Jake Kolatis . "It"s like a new era for the band," Meggers says. "It solidifies that Dave is here to stay." As the follow-up to 2018"s Written in Blood and their first record for Hellcat Records- the Epitaph subsidiary curated by Tim Armstrong of Rancid-Detonate sees this new version of The Casualties locking into place. "We were in the studio for Written in Blood about eight months after I joined," Rodriguez says. "With this new record, we really grew together. For me, it"s the proud moment where we clicked the three Legos together."

Makebo Shares New Four-Track The Universe EP

Woven with textured sound design and warped synthwork, The Universe presents a detailed and deliberate journey shaped by contrast and progression across its 32 minutes. The title track sets the foundation with crunchy low-end and hypnotic percussion that steadily pull the listener inward. ‘Galaxy’ follows with buoyant rhythms that introduce a sense of lift, while ‘Save Me’ deepens the mood with gritty basslines and mystical vocals, adding emotional weight without disrupting the EP’s flow. Closing with ‘Birth Of A New Sun,’ Makebo delivers a club-driven finale that encapsulates The Universe’s expansive, forward-moving themes.

About Alec Pace’s “Respiro 22:16”
Breath as rhythm. Breath as memory. Respiro 22:16, the debut album by Alec Pace, is a world suspended between intimacy and impact — where personal confessions are carried by low-end frequencies and fragile melodies are shaped into physical space.
Written, produced and mixed between London and Turin, this record reveals Alec Pace not only as a producer but as a storyteller through sound. Layer by layer, his voice, guitars, piano, synthesizers, drum machines, samplers, and field recordings converge to form a sonic diary — one that whispers, cracks, shimmers and erupts.
The album moves fluidly between dream pop, modern UK bass, breaks, jungle, and club music, yet its essence lies in emotion: love, memory, anticipation, release. Each track is a breath, an exhale, a fragment of something lived.
“The30th” opens with nostalgic warmth, darkness and breaks; “For You (Hello)” captures the tender rush of a love song over a drum & bass heartbeat; “Venus Winds” floats in a balance of techno pulse and harmonic light. “Angular Invariance” reshapes the floor beneath your feet, while “Respiro” pauses to listen inward — piano and air, fragile and close. “Anticipation” closes it all with a forward surge: emotional, propulsive, unresolved.
Respiro 22:16 is not just a collection of tracks, but a portrait of an artist learning to breathe out loud.

Alec Pace said:
“This album is about putting myself out there — letting every sound, chord and rhythm breathe,” says Pace. “Respiro is both a personal archive and a release.”

“Respiro 22:16” is available across all platforms on Friday 6th March 2026.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Fifteen years after it first surfaced on the short-lived Lithuanian netlabel Dumblys, Sraunus – Out Of The City returns remastered, recontextualized, and ready for a new wave of deep listeners. What once felt like a hidden gem now reads as a quiet cornerstone, a record whose significance only grew clearer with time.
Behind Sraunus is Paulius Markutis, one of Lithuanias earliest deep-dub explorers. His moniker translates to “flowing” or “fluid,” and that spirit runs through the entire album: the music breathes, circulates, and drifts with calm inevitability, revealing fresh details on every pass. Rooted in the classic Berlin-born dub tradition yet unmistakably shaped by Markutis own sense of space, mood, and narrative, the result feels beautifully suspended in time, warm in its chords, patient in its arrangements, and guided by a subtle emotional current. This is dub techno at its most enduring: fluid, deep, and endlessly replayable.
The reissue, part of Greyscales Archive Series, arrives on superbly pressed double vinyl, with artwork chosen with intent: Marija Marcelionytė-Paliukės “High Tide and Low Tide,” an image of perpetual motion that perfectly mirrors the albums flowing spirit.

Grad_U returns to his legendary Redscale imprint with a re-press of one of the label’s most sought-after 12-inches. Originally released as part of the series that helped define modern dub techno, Redscale 02 showcases the Lithuanian artist’s unmistakable sound, deep, analog, and endlessly evolving.
Both sides carry Grad_U’s signature weight: hypnotic low-end movement, rolling chords, and perfectly balanced textures that blur the line between club tool and meditative listening piece. Once again, Redscale reminds us why it stands as one of the most respected labels in the global dub techno scene: no hype, no compromise, just deep, timeless sound.

Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.

“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass

The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”

Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa

The Shroud's appearance on Droogs is a masterclass in the fundamentals with four tracks that wear their influences proudly without ever becoming slavish to what has come before. Opener 'Cross' dives deep and rarely surfaces, rewiring classic shapes in murky bass underworlds. The title track is a rhythm slasher with steely-plated drums and growing low end menace, then 'Ouroboros' cranks the pressure to new levels without ever veering too far from meticulously programmed breaks. It has a schizophrenic panic to it in the scratchy textures and vocals that bleed in and out, then 'Restless Minds' closes things out with the sort of rhythm that gets you dropping your shoulder and fully locked in to each and every bump.

Released in Nottingham at the turn of the millennium, when the city was at the heart of an exciting underground scene, Lounging sits between trip-hop's slowed breaks and deep house's low-end drive. Drum programming is loose but controlled, with swung rhythms underpinning warm basslines and restrained chord patterns. Tracks alternate between vocal cuts featuring Gea Russell and Isi Samuel, and instrumental pieces built on short sampled phrases and repeating hooks. It's a perfect record for either pre-club or post-rave, especially on warmer days, and this anniversary edition has been remastered by Shawn Joseph. A welcome return for a low key classic.

Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.

Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.

The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.

On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.

The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

With Severance, IGLO returns to Figure with a focused yet exploratory EP that reflects his open-ended approach to contemporary techno. The release moves fluidly between restraint and expression, combining functional structures with subtle, unconventional elements that give the tracks a distinct sense of character. Rather than settling into a fixed formula, Severance highlights IGLO's curiosity and willingness to push his sound forward while remaining grounded in precision and control.

Connection opens the release with a restrained, heads-down groove. A firm low-end foundation and sparse percussion lock into a steady momentum, while understated melodic elements add depth without breaking the track's linear drive.
On Kauriraris, the energy tightens. Nervous synth motifs and crisp rhythmic details create a sense of urgency, pushing the track forward through constant micro-variation. It's a lean and effective tool built for sustained pressure.
Flipping the record, Blink Twice moves into darker, denser territory. Murky textures and a weighty groove unfold gradually, building tension through repetition and space. The track thrives on its slow burn, making it well-suited for late-night transitions.
Alive introduces a more open and flowing feel. Warmer tonal elements and a subtle swing soften the edges, while the groove remains firmly anchored and forward-moving.
Digital-only track Forlornly closes the EP with a spacious and introspective mood. Reduced rhythms and airy melodic layers create a calm, drifting atmosphere that rounds off the release with control and restraint.
With Severance, IGLO delivers a tightly structured EP that emphasizes clarity, tension and functionality - a confident addition to the Figure catalogue.

Krope is a six-part conceptual album by Belarusian sound artist and producer Anton Anishchanka. Rooted in archival folk songs recorded between the 1960s and 2000s, it transforms fragile voices of the past into living, cinematic sound worlds. Created in collaboration with ethnographer Iryna Vasilyeva, the album weaves Belarusian traditional music with field recordings, acoustic instruments, and analog synthesizers — an immersive journey where memory, landscape, and resilience converge.

Flowing as one continuous suite, Krope unfolds like a film: memory re-emerges, fragile yet persistent, shaping an emotional narrative of displacement, loss, endurance, and hope. The archival voices at its core — songs of love, exile, and mourning — resonate across decades, echoing the urgent realities of today. The album flows as a single, immersive sonic odyssey. From the tender rejection in Krope (Dill) to the grief carved in Dubrovuška (Oak Grove), it traces an arc of human experience that is both deeply personal and universally shared. By reimagining traditional music through contemporary sound art, Anishchanka preserves endangered cultural heritage while revealing its timeless relevance.

Credits:
Produced by Anton Anishchanka
Engineering by Tenzor
Mastered by Alex at Quitfish Mastering
Lacquer cut by Tim Xavier at Manmade Mastering
Cover Art by Sasha Zeliankevich
Graphic Design by Ihar Yukhnevich
Creative Direction by Nadzeya Burmistrava

Archival materials courtesy of the Institute of Art History, Ethnography and Folklore named after K. Krapiva, National Academy of Sciences of Belarus.

Special thanks to Iryna Vasilyeva for her assistance with archival selections and ethnographic material.

Shatkavalka 2025

Hidden away amidst the bustle of Rio de Janeiro’s Catete neighbourhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighbourhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento’s new album VILA, a collaborative project with a sixteen piece orchestra led by trombonist and arranger Vittor Santos.

Recorded between Rio de Janeiro and Los Angeles, VILA is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos’ breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation.

Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino.

Vittor Santos is an arranger and Trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.

=====================================
Credits:

Fabiano do Nascimento – 6, 7 and soprano guitars.
All orchestral arrangements and production by Vitor Santos.
Recorded at Electro-Sound studio, Los Angeles and Estúdio Fibra, Rio de Janeiro
Engineered by Jason Hiller and Garbiel Lucchini
Mastered by Mike Bozzi

Oboe – Francisco Gonçalves
Contrabaixo – Rodrigo Villa
Drums – Márcio Bahia
Violino - Ricardo Amado
Violino – Thiago Teixeira
Violin – Daniel Albuquerque
Violin – Márcio Sanches
Viola – Ivan Zandonade
Viola – Dhyan Toffolo
Cello - Hugo Pilger
Cello – Janaína Salles
Double Bass – Rômulo Gomes
Clarinet – José Batista
French Horn – Philip Doyle
Trombones - Vittor Santos
Violin – Daniel Guedes

Dutch DJ/producer Boss Priester has built a name as a producer who operates with a ‘let the music speak’ ethos. Now based in The Hague, he has spent years crafting a distinctive sound that blends elements from minimal, house, and techno, releasing across respected labels including Ba Dum Tish, X-Kalay, Dungeon Meat, and his own BPDUBS imprint. His 2023 ‘Hotel Dijon’ EP on LOCUS marked a notable moment in his journey, having long drawn support from label boss Enzo Siragusa, establishing a connection that now comes full circle with an impressive debut outing on FUSE. Building on the backing of other notable figures such as Fumiya Tanaka and Samuel Deep, reinforcing his meticulous attention to rhythm, texture, and groove, his ‘Respect Yourself’ EP extends his sound further as he delivers four tracks that are impactful, precise, and built to command the dancefloor.

Title track ‘Respect Yourself’ leads the EP with its synth-led, hypnotic groove, as intricate percussion and low-end weight immediately establish a commanding presence shaped for the floor. ‘BP On The Master’ follows with a deep, rolling energy, blending minimal textures and squelchy bass licks with understated melodic flourishes. On the B-side, ‘Future Is Electric’ channels a forward-thinking spirit, layering bright textures over weighty, skippy UKG-influenced driving rhythms, before ‘Flava’ closes things with a hazy yet heavy kinetic groove that perfectly encapsulates Boss’s growing sound.

„ behind horizons at the end of a breath why I love luna parks *_* „

Ben Kaczor debuts his first LP on St. Odes. Sirene showcases a more experimental and cinematic approach to sound. Tracks such as Amusement Impressions and Phantom Blues emerged from his fine art studies, while Sirene and Oval Waves reflect his work with the Buchla Easel. The artwork features a photograph by the artist himself, making the record one of his most personal works to date.

artwork by : Ben Kaczor / mastering by : Isabel Schröer

raum…musik welcomes Giuliano Lomonte for its 120th release with Moonlight EP — a three-track journey cross-sectioning house and techno with hints of 90’s progressive trance, combining precise rhythmic control, atmospheric depth, and club-focused energy. Tools built for tension, release, and maximum dancefloor impact.

The EP opens with “Drynation”, a ten-minute prog-tech-house roller built on hypnotic grooves, rolling low-end, and evolving percussive patterns and synth textures, locking the floor in with a steady pulse and a masterful play of tension and release. “Moonlight” shifts into deeper, proggy techno territory, weaving subtle percussive motifs over a simple interchanged kick-and-bass foundation. Fluid and restrained, the track unfolds slowly, with minimal drum variations and gently filtered synths, creating an elegant sense of forward motion. Closing the EP, “One Step Ahead” balances stripped-back tribal house energy with rolling grooves, detailed percussion, and warm pads, resulting in a deeper cut that is precise, functional, and full of understated character.

With Moonlight EP, Lomonte confirms his mastery of tension, texture, and subtle movement, delivering a record that reinforces Raum…Musik’s reputation for high-quality, dancefloor-ready music while highlighting his signature blend of rhythm, refinement, and subtle progression.

Dub Consistency proudly presents its debut release, showcasing the hypnotic sound of 23.4 with a special remix from Berlin-based Argentinian artist Volpe.

On this four-track EP plus two locked grooves, Lille producer 23.4 distills over a decade of studio experience into a fast-paced yet deep Dub Techno journey.
Rolling percussion, weighty low-end and subtle atmospheres recall both the raw soul of Detroit and the spacious echoes of Berlin.

Adding his own signature, Volpe-a talent of Berlin's club circuit and producer for labels such as a.r.t.less and Frenzy-delivers a powerful rework that blends Dub, Deep and Tribal influences for peak-time impact.

Mastered by Conor Dalton, this first Dub Consistency outing is built for vinyl and the dancefloor alike: immersive, heavy, and unmistakably club-oriented.

Gold Vinyl Represss

*A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM THE LEGEND OF ZELDA*

WRWTFWW Records is happy to announce the release of Casimir Liberski ReTRio's The Z Suites, a full-length jazz album reinterpreting the music from iconic Nintendo video game series The Legend of Zelda. The epic Z-Jazz journey is available in the following formats: limited edition 180g half speed mastered vinyl double LP housed in a heavyweight sleeve with obi, digipack CD with cavalier, and digital.

Casimir Liberski reimagines the golden era of video game soundtracks with jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - plus a few Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.

Music critic Arthur Meurant perfectly explains:

For many video games are a journey of the mind. Since its inception - dating back to the early seventies - this avant-garde artistic medium has nourished the imaginations of a digital age. Casimir, like many others, has been fed a steady diet of pixels from an early age. From simple squares to cultural cornerstones they have become the trail on which playful travelers of the mind retrace the steppes of history. A shared universe, familiar yet endless, of pocket-sized mythology. Its name? Hyrule. Its goal? To amaze. In these few tracks - selected with care - the Casimir Liberski ReTRio invites you, finally, to visit a space which does not exist yet holds us all. A land where all feel welcome. Where all are happy. But also... to rediscover under another timbre the classical compositions of Master Composer K?ji Kond?. A man who, unbeknownst to him, composed our dreams as well as music. That single noble pursuit, where an artist gives soul without losing his own, is yet again a statement of humanity in its purest of forms: art as that which brings us together and makes us whole in a world eroded by modernity. Pick up your key. Gather your maps. Open the door. Adventure calls.

Long live Hyrule jazz!

Posh End Music boss Fear-E returns with his second album ‘Descent into Ascension (Snapshots of a Mental State)’ this February. Recorded during a period of withdrawal and isolation, the release serves as a diary of a mental state as the producer worked through a period of challenging mental health. Here, he hones in on his primary love of techno bringing in influences of Bangaltar-ish French house and disco and also pays homage to EBM originators Nitzer Ebb.

Josh da Costa's "New Wave Graveyard" ist ein Solo-Debüt, das die Vielfalt der Underground-Musik feiert und sich dabei eine eigene Nische schafft. Nach anderthalb Jahrzehnten in Bands wie dem Synthpop-Duo CMON (Mexican Summer) und den New Yorker DIY-Legenden Regal Degal (Terrible Records), veröffentlicht Josh da Costa endlich sein Solo-Debüt. Der erfahrene Kollaborations- und Tourmusiker spielte bereits mit Künstlern wie Drugdealer, Jessica Pratt, MGMT, Chris Cohen und vielen anderen. Über fünf Jahre entstand "New Wave Graveyard", das weit mehr als nur das im Titel erwähnte Genre der späten 70er/frühen 80er Jahre umfasst - von Flying-Nun-Compilations über den Glam-Rock von Sparks und Japan, Art-Pop von Prince und Yoko Ono bis hin zu Power-Pop, Electro, Britpop und Shoegaze - allesamt aus da Costas umfangreicher Plattensammlung. "New Wave Graveyard" mag zwar vom Genre der 70er und 80er Jahre inspiriert sein, das dem Album seinen Namen gibt, doch ist die/der New Wave nur eine(r) von vielen musikalischen Einflüssen von Josh da Costa. Das Album ist ein wunderschöner Mix aus Stilen und Ideen, von Glam bis Shoegaze, allesamt geprägt von Joshs vielseitigem Geschmack. Mit geistreichen Texten und einer Fülle eingängiger Songs ist es ein mitreißendes Statement eines vielversprechenden neuen Künstlers, ein komplettes Soloalbum, für das da Costa alle Songs und Texte selbst geschrieben, nahezu alle Instrumente gespielt und das Album selbst gemischt hat. Gemastert wurde es von Heba Kadry (Björk, Panda Bear, Blood Orange), das Albumcover stammt von Robert Beatty (dem legendären Künstler hinter den Plattencovern von Tame Impala, The Weeknd, Mdou Moctar, Oneohtrix Point Never und vielen mehr). Die klassische schwarze Vinyl-LP enthält ein farbiges Booklet mit den Songtexten.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Cedofeita Records returns with CDFT004, a limited run of 150 numbered 12”s cut for DJs who like their records to do the work: five tracks across house, electro and breaks, sequenced with a clean sense of tension and release. Based in Porto, the label stays close to a simple rule — not where artists are from, but where the work happens. These tracks were written and shaped while the artists were living in the North of Portugal, tied into the local circuit and its night-time pace.

Miguel Rendeiro opens with “Love Me Too” — direct, fast and warm at the bottom end. Mike Morales follows with “Outta Shine”, modern and controlled, built on crisp rhythm and a steady forward push. On the flip, Bruno, Erp & Rompante hit heavier with “Parking Place” — bold stabs, sampling grit, room-holding weight. Sector Relay shifts the colour with “Social Distortion”, stripped electro pressure for late hours. Tasc’oTau feat. João Pedro Dias closes with “Magnificent City” — liquid break swing and soft detail, a final chapter that resets the room without losing the thread.

Promising/Youngster returns to Analogical Force with Navaras EP, a four-track release showcasing the Spanish artist's refined approach to emotive, club-focused electronica. Drawing from idm, electro, braindance and distorted sound design, the EP balances depth and intensity with sonic precision, blurring the lines between styles in a way that has become a defining trait of his sound. Crunchy basslines, weighty low-end and dreamy pads intertwine with analog and digital textures, resulting in a set of timeless tracks full of power and subtle beauty. Navaras EP feels equally at home on late-night systems and in focused listening settings. The promise has matured into presence.