quête:the ex

Second album of french incendiary fake big band Parasite Jazz. A krautrock, jazz-non-jazz, experimental album recorded along four seasons by three musicians (Alex Larsen, Tamara Goukassova & Théo Delaunay) from the french fringes ; members of Succhiamo, Diagonale des Yeux, Simple Music Experience, Violent Quand on Aime ... featuring Radio Hito, Kyle Knapp (Deliluh) & Hochiwah.



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After its first release in 2023, the tiny big band Parasite Jazz brings its public iterations to fruition with “♫”, a testament to an alternate reality, matured voyaging across France over the span of four seasons.



It sees the music flee through exuberant forests and steep troglodytes ; a parallel genre movie with a soundtrack of diluvian rhythms, mocking chants, jazz noir and voodoo accidents. In this shifting, autonomous world, the elastic orchestra—whose members Radio Hito, Valentin Noiret, Kyle Knapp, and Hochiwah keep on appearing and disappearing—plays for nocturnal secrets and feverish cavalcades.

The Sarge Returns: 4 Killer Club Reworks

The Slick One is back with another set of four electrifying tracks. This time, he dives into late ‘70s and early ‘80s classics, giving them a sleek, club-ready makeover. Expect familiar vocals, tightened grooves, and energy perfectly tuned for the dancefloor.

Featuring some of the biggest names in the scene, these mixes are designed to get any crowd moving. As always, this release is limited—grab it now buy or cry!

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

Dope 4 track EP featuring some jazzy downtempo remixes/edits/tracks. MARC RAPSON does a funky head nodding remix of SARAH VAUGHN's "MYSTERY OF MAN", then he teams up with MECCA:83 for "THE EXPANSE". On the flip ALEXIS DAVIS drops 2 killer piano driven jazz hop cuts: "THEME" and "FEEL IT". Limited!

Germany's most exciting new indie voice BROCKHOFF opens a bold new chapter and announces her debut album Easy Peeler, out June 5th 2026 via PIAS Recordings. “Easy Peeler” is the ambitious culmination of BROCKHOFF’s musical coming-of-age journey. It's an album that bridges grunge-laced indie rock and early-2000s pop textures, wrapped in a deeply authentic songwriting voice. It’s a reminder that even when life feels uncomfortable, there’s beauty in being an easy peeler. For Fans of: Modern indie acts Phoebe Bridgers, Snail Mail, Soccer Mommy as well as 90s bands such as Weezer or The Cardigans Tracklist: 01. Easy Peeler 02. The Carpet Song 03. Willows 04. Sunny Day (Deadline) 05. Blue Star 06. Front Row 07. Nothing Can Be Fixed In This Place 08. Dirty Dream 09. Japanese Garden# 10. I've Stopped Getting Chills For A While Now 11. Cruel 12. Sleep It Off 13. It Never Happened 14. Hot Wheels

Parallel Universe – Volume 1 marks the latest collaboration between Natacha Atlas and Samy Bishai — a bold reimagining of the musical crossroads between East and West. While its textures echo retro-futurism and electronic lineage, the spirit of the record is unmistakably present-tense — rooted in a boldly contemporary vision of Arabic pop, refracted through experimental production.

LP Red Vinyl in Picture Sleeve

A criminally overlooked P-Funk treasure from 1981, Tighten It Up captures Chicago’s funk underground at its raw, electric best — with none other than Frankie Knuckles contributing as mixing consultant, giving the record an unmistakable dance-floor edge ahead of the house era. Long out of print and increasingly hard to find, this beautifully remastered RSD edition brings the Gold Coast classic back into circulation, this time on a Transparent red vinyl with restored artwork. An essential 2026 pick that shines a light on a missing link between P-Funk, disco, and early Chicago club culture — exactly the kind of deep, collector-grade rediscovery Record Store Day was made for. 1xLP, Picture Sleeve, Remastered, Transparent Red Vinyl.

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

A new voice enters the orbit. MBM carves three slow-burning studies in tension and release – merging patterns with fragile harmonics, melancholia, and restraint. Everything feels carefully placed yet emotionally exposed. Moments of pressure give way to space, steel meets softness, rhythm turns inward. No peaks. No breaks. Just pulse, texture, and tone – in constant negotiation. Music for the body, drawn from the depths. Soultones hits hard. Feel it.

Fresh rework by Mr Sam of the iconic track 'Broken Dream' by Da Fresh, originally released in 2005. On the flip side is the Original Version, which became a major club hit and remains a beloved track among electronic music fans.

Layton Giordani brings out his first MADMINDS vinyl to celebrate his opening duo of releases on his imprint. Released on wax, 'When It Kicks' sees Layton's debut collaboration with dance legend Green Velvet - on the flip side, 'Call You Back' features Layton's standout link up with GENESI & Be No Rain.

Blood Sanctum Vinyl w/ Poster

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Huge! Incl. Mihai Popoviciu Remix! Sublease Music proudly welcomes Vincenzo,one of the longest serving producers on the house circuit, with Assassin, a slinky, deep and rolling house cut.

Hyperdreams returns with Caim — Dream Ritual, a transmission pulled from a forgotten exoplanet where forest and machine have fused into a single ecosystem. Synthetic vines wrap through dead circuitry. Somewhere inside it, an alien tribe is still performing rituals to keep the system alive.

Matter at Hand Records launches its first release MAH01: Abeja Descarada is a four track EP showcasing Oliver Albach's vision on contemporary techno, without explorative boundaries. "move on" - sets the tone with a deep, driving pulse, noisy hi-hats and shadowy textures. "you trippin’" - locks into a bleep-driven monotony that unfolds into a subtle cosmic drift. The titel track "abeja descarada" reveals a different vibe — an afterhour piece with soft, gloomy ambience. "unhinged" closes on a raw note: a relentless 808 groove with off-kilter synth work.

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Particle Audio was created by Viels to express his musical vision without compromises.

The first release explores his deeper and classic vision of techno focusing on simplicity and unique sound design shaped by the natural evolution of electronic music.

Red "Eruption" Marble Blend" Doppel-Vinyl, inklusive 16-seitigem Booklet mit Texten und ausführlichen Liner Notes. Ursprünglich 1998 veröffentlicht, fing ,South Central Thynk Taynk" von Abstract Tribe Unique (Abstract Rude, Fat Jack, Zulu Butterfly Priest, Irie Lion King und DJ Drez) einen entscheidenden Moment in der Underground-Szene von Los Angeles ein - als junge schwarze Künstler den Hip-Hop von Grund auf neu erfanden. Mit einer Mischung aus jazzigen Beats, spiritueller Einsicht und einer äußerst unabhängigen Produktion wurde das Album zu einer Hymne auf Selbstständigkeit und kreative Rebellion. Jetzt wird dieser lange nicht mehr erhältliche Klassiker von Rhymesayers Entertainment als Deluxe-2xLP-Set mit einem Text-Booklet und einem Bonustrack neu aufgelegt und kehrt für eine neue Generation zurück. Im kulturellen Zentrum der Platte steht Project Blowed, eine legendäre Crew aus L.A., die von Abstract Rude und Aceyalone gegründet wurde und eine Reihe von Rap-Innovatoren hervorbrachte, deren Einfluss bis heute im globalen Hip-Hop zu spüren ist. Während der Mainstream-Rap den G-Funk-Boom der Westküste aufgriff, schlug die Blowed-Crew einen anderen Weg ein - geprägt von Jazz, radikaler Politik und afrozentrischem Futurismus. ,South Central Thynk Taynk" ist eine vielschichtige Zeitkapsel aus dieser revolutionären Zeit, die Ab Rudes tiefgründige Lyrik mit Fat Jacks genreübergreifendem Produktionsansatz verbindet und eine poetische Reflexion über Familie, Kampf und künstlerische Bestimmung schafft. Diese Neuauflage enthält den Titel ,L.A. Styles Back (Project Blowed Remix)" mit einer generationsübergreifenden Besetzung von Schwergewichten - Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore und NGAFSH -, die unterstreicht, wie die Underground-Szene von L.A. seit Jahrzehnten ein kreatives Epizentrum geblieben ist. ,South Central Thynk Taynk" ist mehr als ein Kultartefakt; es ist ein lebendiges Dokument der Transformation, der Gemeinschaft und der künstlerischen Kraft.















[o] 15 : L.A. Styles Back (Project Blowed Remix)” [feat. Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, NGAFSH]

Ein Album mit dem Titel ,Roses" würde sich mit romantischen Gesten befassen. In den zehn Titeln, aus denen sich das siebte und neueste Widowspeak-Album zusammensetzt, werden intime Räume und Phasen der Liebe durch eine nostalgische, mit Vaseline überzogene Linse eingefangen. Kerzen brennen in rotem Glas, während sich Liebende in einer Lederbank näherkommen. Porträts von Prominenten blicken wie Engel in einem Restaurant herab. An anderer Stelle sind Nelken in ein schwarzes Buch gepresst, und Tänzer ziehen sich gegenseitig an sich. Widowspeak ist eine Band, die große Emotionen thematisiert, ohne sich selbst allzu ernst zu nehmen. Die Süße, ja sogar Albernheit einer ausgedehnten Verliebtheitsphase, die so alles verzehrend wird wie ein kitschiger Taschenbuchroman. Autos und ihre Fahrer dienen als Mittel, um über gegenseitige Abhängigkeit zu sprechen. Wenn Musik gleichzeitig naturalistisch und noir, gesättigt und üppig sein kann, dann ist das Widowspeak. Sie sind eine Band, die es versteht, eine Szene zu inszenieren. Diese Songs nutzen intime Momente, um über tiefere Herzschmerzen zu sprechen: die der modernen Existenz innewohnende Unruhe, das Herumwarten darauf, dass etwas geschieht. Oder das Gefühl, im Widerspruch dazu zu stehen, eine Rolle im eigenen Leben zu spielen. ,Roses" mag das romantischste Widowspeak-Album sein, aber es ist auch das zutiefst realistischste: Die Bühne wird nicht mit dramatischen Ouvertüren bereitet, sondern vor dem Hintergrund der Kleinigkeiten und Wiederholungen alltäglicher Handlungen. Kleine Beobachtungen vor, während und nach der Arbeit: das Ritual, Kunden Wasser einzuschenken, sich an seinem freien Tag eine Erkältung einzufangen. Davon zu träumen, im Lotto zu gewinnen, oder vielleicht zu erkennen, dass man bereits gewonnen hat. Hier ist Liebe ein Mittel, um darüber zu sprechen, was uns antreibt, und Widowspeak suggerieren, dass sie der eigentliche Sinn sein kann. Das Licht, das die dunklen Ecken eines Tages, eines Lebens erhellt. Ein Grund, weiterzumachen, trotz des Schmerzes, den es verursachen kann. Widowspeak sind eine der produktivsten und fleißigsten Bands der Szene, die knapp unter der Oberfläche brodeln. Molly Hamilton und Robert Earl Thomas bilden den Kern der Gruppe und sind ihre Songwriter; sie haben ihren Sound über sechzehn Jahre hinweg und mit einem beeindruckend konsistenten Werk verfeinert. Als eine von vielen Bands, die in der fruchtbaren New Yorker Musikszene entstanden sind, begannen sie damit, ihre Ausrüstung zwischen mittlerweile geschlossenen Veranstaltungsorten und ihrem Proberaum im Monster Island Basement hin- und herzuschleppen. Widowspeak ist heute ein Ehepaar, das in der eigenen ,Nebensaison" Tagesjobs ausübt. Robert ist Tischler, Molly Kellnerin. ,Roses" ist Widowspeak in Bestform und schöpft aus zeitlosen Einflüssen. Die Magie der Band liegt nach wie vor im Zusammenspiel zwischen Molly und Robert in ihren beiden Hauptrollen: ihrer trägen, facettenreichen Stimme und seinem instinktiven Gitarrenspiel. Im Kern ist ihre Musik etwas Besonderes, weil sie echt ist: vor allem für die Menschen, die sie machen. Zerbrechlich und vergänglich, und doch lohnend, wie die Liebe selbst.

Hardcore-Neudenker Hammok aus Norwegen veröffentlichen ihr zweites Album, das erste bei Sargent House! Irgendwo mitten in Europa begann Sänger und Gitarrist Tobias Osland einen neuen Song zu schreiben, der die internationale Hardcore-Szene widerspiegelte, welche die Band alsbald sie die kleinen Alternative-Kreise Oslos verlassen hatten, mit offenen Armen empfing. Er und seine Bandkollegen - Schlagzeuger Ferdinand Aasheim und Bassist Ole Benjamin Thomassen - waren überwältigt, als sie auf neue Fans und Gleichgesinnte auf dem ganzen Kontinent trafen. Sie nahmen den Song "The Scene" mit auf die Tournee, ein Song von Menschen, die sich einst außen vor fühlten - und nun einen Ort in der Welt gefunden haben. Mit beeindruckenden Demos im Gepäck und der Absicht, ihren Sound zu verfeinern, experimentierten Hammok so lange, bis sie etwas gefunden hatten, das all ihre Impulse vereinte: explosiv, eingängig und detailreich. Sie erweiterten ihre Wurzeln aus Noise-Rock, Hardcore und Metal um ein breiteres, dynamischeres Terrain und verwebten industrielle Härte, Hip-Hop-Pulse, Synthie-Texturen und progressive Elemente zu klassischer Punk-Dringlichkeit. Indem sie die Gegensätze von Underground-Intensität und Pop-Sensibilität ausbalancierten, schufen sie so ein innovatives HC-Album. "When Does This Place Become Our Scene" ist eine Einladung - der Sound einer Band, die sich mit ganzem Herzen dieser neuen Musik widmet und dem Publikum verspricht, dass dieser Austausch, sich lohnt. Limitierte rote Vinyl-LP mit ausklappbarem Lyrics-Poster und DLC, CD im Digipak. FÜR FANS VON: METZ, Title Fight, Turnstile, Converge. GENRE/STIL: Hardcore, Alternative, Metal, Noise-Rock.

Easy Beat Productions are pleased to announce their latest release, an upbeat horns instrumental which see's Solution Sound System operator and selector Mark Solution join forces with stalwart reggae trumpet player, D.Fullwood AKA D.Cosmic.

Regular attendees of Solution Sound System events will be familiar with this one as it’s been mashing up dances on dubplate for a little while now!

Listeners are treated to the main horns mix as well as a stripped back dub excursion.

Ruby My Dear returns to Analogical Force with Iterations EP -- five cuts of precision-engineered electronica forged from repetition and control. Originally conceived for a videomapping project by Barcelona-based studio VPM and premiered at SIGNAL and MIRA festivals the music quickly evolved beyond its audiovisual origins into a fully independent sonic work. Razor-edged IDM, glitched breakcore and high-velocity drum programming collide with dark harmonic pressure and microscopic detail. Brutal yet deliberate. Chaotic yet exact. This is Ruby My Dear operating at full resolution.

DJ Support: Phil Mison (Cantoma/Ambala), Charlie Bones (Do!You!!!), Frank Booker, Trujillo, Alice Palace, CIAN, DJ Aficionado, No Plastic, Jad & The, Leon D, Moe, Sadeedo, Longboss (Strangelove), Tom Kutsche, Marian Tone, Andy Pye (Balearic Social), Soft Rocks, Wrekin Havoc, Alfresco Disco, Manuel Darquart, Tom Bolas, Danny Russell, Craig Christon (Passport to/Beyond Paradise)
Many Hands - Basement Versionz #2, continuing from #1 with further excursions into Basement Balearica. From Bunker to Beach: Wiggy Dread Italo, Rebel Disco Reggae, Thai Boogie Funk and freshly creased 80s Steppers to help clever selectors get out of, or into trouble.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

Fresh off an EP on Semantica and an album on MORD, Uun returns to his imprint Ego Death with the Panopticon EP. Uun showcases his range on these 6 tracks, running the gamut from dissonance to chord driven grooves.

The A side focuses on intensity. “Aesthetic Descent” features dual synth lines, slipping between melody and atonality. The straightforward percussion allows the listener to focus on the everchanging dynamics in the leads. “Structural Obedience” begins with a chugging groove, out of which a buzzsaw synth emerges. This track is a display of Uun’s ability to walk the line between minimalism and maximalism.

The B side focuses on the interplay between melody and groove. “Ralph’s Track” channels the dub chords of Basic Channel while applying a modern edge. “The Hidden System” features the lone vocal on the EP, sampled from the work of the late great David Lynch. The interplay between the 7⁄8 lead synth and 4/4 percussion creates a feeling of anticipation, where the patterns develop in unpredictable ways.

The digital exclusive tracks go into more experimental territory. “Queen’s Chamber” is a broken beat dirge, consisting of reverb drenched percussion and synths reminiscent of Dead Can Dance. The final track, “Shokunin”, is the counterpoint to Aesthetic Descent, closing out the release on a crushing yet hopeful note.

Pressed onto a unique custom turquoise and black hand poured color mix record inside a full printed jacket. The evocative artwork was created by Minneapolis based graphic designer Ryote.

Following the critical success of last year’s ‘Cold Feet’ LP, producer, DJ, and multi-instrumentalist Alek Lee returns to Isle of Jura with his most introspective work to date, the ‘Blue Bird’ album. Across eight tracks, the Athens-based artist explores what he describes as a "Peculiar state of minds & Dub Orientated Feelings," blending his signature guerrilla style production with deep, organic soul.

The album’s centerpiece and title track, ‘Blue Bird’ features the haunting vocals of singer-songwriter Keren Ilan. It is a raw, heartfelt exploration of the aftermath of a breakup. The lyrics speak of a "desert heart" and a "loss that grows tall and loud," eventually finding a path toward healing as the "blue bird sings the dawn." Musically, the track is anchored by hazy, sun drenched guitars, a central instrument that weaves a consistent Balearic thread throughout the LP.

The journey through ‘Blue Bird’ is one of shifting shadows and unexpected textures. ‘Treasures’ is a standout instrumental, leaning into a grit-flecked, bluesy "twang" reminiscent of Duane Eddy, while ‘The Beach Road’ sees long time collaborator and ‘Shame On Us’ bandmate, Yovav, lending his magical bass and guitar work to a track that feels like a slow drive toward the horizon.

Side B shifts the energy toward the dancefloor and the sophisticated leftfield pop of the 80s. ‘First Rain’ is a subtle house leaning gem underpinned by a kick drum and lush, synth heavy emotive chord progression. ‘Thanks to Sade’ is a seductive downtempo groove with epic guitar lines shifting through, while ‘Remember the Good’ brings a subtle reggae skank and a French-influenced organ sound into the mix. The LP comes full circle with a smoked out Dub version of the title track ‘Blue Bird’.

A 180 gram pressing in a 3mm spine full colour sleeve and sticker designed by Bradley Pinkerton.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships.

Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes.

Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Arguably one of Get Physical’s most influential tracks, ‘O Superman’ sees a new release with remixes from Man Power and SIS alongside the 2008 version from Robag Whrume and a remaster of the now classic original. Man Power kicks off the new interpretations with an epic, ten and half minute version that patiently stretches the original’s melodies into pads and held bass tones across crisp, micro-house styled beats before unleashing loose, clattering breakbeats after a striking, extended breakdown. SIS’s dreamy, percussive version sees the German producer in hypnotic, and tracky form, focussing on the ebb and flow of the original’s tuneful vocoder and synth work that drift across his perfect groove. Robag’s Pumper-Nikkel remix, for those that missed it some years back, is yet another funky, chopped, sliced and diced piece of work from the playful producer and still sounds as fresh as ever. M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson - O Superman Remixes are released on Get Physical 12” in late July with a digital release following in the Autumn.

¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

Protocolo SysEx aka Fabio Vinuesa lanza este EP en su sello con cuatro pelotazos originales y dos remixes de Boris Divider y Heinrich Mueller.

GEOMETRÍA VIRTUAL documents a scenario in which mechanisms of control cease to function as external layers and instead become the very foundation of the system. The album does not propose a future dystopia, but rather a reality in which decision-making is automated and artificial intelligence is established as a structure of social control.Protocolo SysEx, a project by Fabio Vinuesa, is conceived as a narrative and sonic framework from which to examine the political and philosophical implications of a world governed by artificial intelligence. The release includes reinterpretations by Boris Divider and Heinrich Mueller and constitutes the first chapter of a trilogy focused on the progressive normalization of algorithmic control.

Geometría Virtual EP – Distrito 91 15

a A1 - Geometría Virtual Part I
b A2 - Geometría Virtual Part II

Cécille Records Welcomes Sambo with a Standout 5-Track EP

Cécille Records proudly continues its tradition of discovering and nurturing fresh talent, and we are excited to welcome Sambo to the family with an outstanding 5 track EP!

True to the label’s signature sound - rooted in timeless, classic house - Sambo delivers a release that feels both fresh and deeply connected to the essence of Cécille. Each track reflects a strong artistic identity, blending groove, emotion, and refined production into a cohesive body of work that stands out effortlessly.

This is a release we have been waiting to share for quite some time, and we couldn’t be more excited to finally present it to the world. Please join us in giving Sambo a warm welcome to the Cécille family.

Straight out of Toronto, Waspriders )) issue an ultimatum to the current state of things - smashing heavyweight bass music into the sonic DNA of transcendental techno raves. Modern esoteric experience, engineered for those who know how to lose themselves on a sweaty dance floor. Tss - stay quiet when the bass talks. Bass is the source of truth. Bass is your new god! Behind Waspriders )) are two unhinged creative minds - Danny Voicu (aka Dan Only, ½ Cloudsteppers) and Alex Pletnev (aka Pletnev, Moisk). These transmissions started taking shape in a Toronto studio back in 2024. Toronto's own Cindy Ciel - also ½ of Cloudsteppers - blessed the EP with a body-moving banger of her own.

Afro Funk Grooves by Afro Dub is a unique experience that challenges genre conventions, bringing together the present and the past in a captivating blend of Afro Funk Soul sounds. Sound Exhibitions Records continues to be the bridge between historical roots and contemporary innovations, making this vinyl a precious addition to any music collection.

Volume 2 of 3 vinyls containing all the extended mixes on Claude VonStroke’s 5th original artist album, “Wrong Number.” Whilst the first vinyl was all deep cuts, this second record is full of bumpy, quirky, club tools with unique properties. “Two Line Groove” features vocals “in the round” from both of his children, Jasper and Ella, and can be imagined working well on the DC10 terrace this summer. “A Little Drizzle” is a classic wonky VonStroke bassline with vocal chops all getting twisted like Matthew Herbert meets Akufen. Lastly, “Busted Ass Deejays” is a little bit of shade going out to $100+ tickets to see generic Deejays playing Beatport top 10s. Just poking a little bit of fun, we love you all!

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

Bleaching Agent and Miles J Paralysis are two artists who operate steadily in their own lane. They collide on this release to deliver two contrasting originals, each handed to the other to be reimagined.

Both based alongside us in West Yorkshire, we are thrilled to present this shared vision in the form of the first Dream Space 12”.

Bleaching Agent’s Hollis captures the spirit of the bleeps & bass forged in the industrial north of years gone by, elevated with lush harmonies and slick vocal work. One that’s fit for late-night floors and hazy summer evenings alike.

Miles J Paralysis takes Hollis into a different space, chopping the melody into an infectious and hypnotic flow. All melded together with his signature dub-tinged, grooving percussive work.

On side two, Miles drags us into deep territory with Inhibited Orgy. Further exploring the otherworldly sound of his Paralysis moniker, that many of you will now be familiar with after a breakout year.

Bleaching Agent closes off the record with his own take, stoking the energy levels to create a stomping, anthemic chugger that is sure to ignite any dance floor.

Limited to 150 copies.

Take a ride with the newskool of electronic hard & XP livers !

A side brings tunes Fatigue Suspecte played live at various occasions. On the flip you will listen to 2 new tunes, fresh and speed !!!

Magic !

Not all music can cope with physical reality. Instruments can be pushed until they lose grip. Eventually, they will slip so far that their untethered voice is all that remains. Panoram follows up on his Pianosequenza series engaging in seventeen excursions into playing the part of the piano that doesn't exist, coaxing out inarticulate feelings in lieu of familiar characteristics. Sounds and rhythms resulting from thoughts that can't be put into quite the right words.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

"Space Friends" by DJ Moy is an invitation to celebrate friendship through music, a sonic experience that traverses genres and styles. Sound Exhibitions Records continues to lead the way in musical innovation, offering a vinyl that stands out for its freshness and versatility. A must-have for music lovers seeking an exciting journey among the Nu Funk & Afro Disco.

This excellent piece of music (sourced from the original DAT) was way ahead of its time in '95. Still a roller. For Selectors only.

Collaborating for more than two decades, Oren Ambarchi and Will Guthrie arrive at a place of expansive, intuitive interplay on "Cold Shoulder." Their musical dialogue, which previously moved through abstraction and volatile electro-acoustic experimentation, now unfolds with relaxed confidence, melding drifting Leslie tones, shimmering percussion, and fluid pulses that emerge and dissolve. It's a document of experience; music that feels freer, more direct, perhaps quietly fearless.

The Fuga compilation returns to Token with its seventh installment by a fresh batch of artists emphasizing the cryptic sound of the Belgian record label. The V/A displays urgency as its focal point, expanding and contracting its acoustic space throughout to channel instability. With eight contributions, Fuga VII sifts through nail biting arpeggios, frenzied percussion, and obscure ambiance to recalibrate techno's current soundscape.

Opening the compilation is contemporary techno mainstay Rene Wise with his debut contribution to the record label 'Rough Rider'. In this A1, Wise plays to his strengths by blending deep techno influences with hyper-focused rhythmic work. With a hint of tribalism, he conjures up synthwork from far off to whip motion into heavy drum patterns. Following this first track, STIPP and Sandrien take control in presenting 'Corrie', a sequence-forward groover that slides through drum programing to streamline rhythm. A shrill pad comes in at the halfway mark, completely lifting the energy of 'Corrie' to strain the track's obscurity with an ethereal counterweight. The brief passage of these kinds of elements provides a lot of dynamic to what would otherwise be a powerfully straightforward piece. Diving deeper, Red Rooms unveils 'Limited Sensory' as the next chapter of the compilation. Always swift and exact, the German artist continues to push into the ultra immersive with a web of elements that whiz by for a peaktime lock in. Cold in attitude, Red Rooms tunnels through 'Limited Sensory' with quick drumsand far-off percussive hits that rumble through the track. Stepping up afterwards is Lindsey Herbert with 'Oscillations in Space' - an appropriately named recording that experiments with mania as a tool for the dancefloor. Fast and spiraling, Herbert keeps her hands on the arpeggio's filter to contain tension through thunderous reverb transitions, balancing panic with pace. AgainstMe then stretches out the followup with the commanding 'Phase Shift' to double down on weight. Textural intimidation and stomping percussion is given the space it needs to perform on heavy weight sound systems, making it an austere middle point for Fuga. MAL HOMBRE then guides the listener to more elastic sound design in 'Critical Velocity', in a most appropriate Token fashion. Snowballing in intensity halfway through, MAL HOMBRE pushes the cutoff of his melody and programs snare rolls for vintage craze through the second section. Bells clash with ringing hats to fly the track along its course without looking back or letting go. Conor Wall takes control with 'The Strategy' that focuses on pace rather than melody, weaponizing metallic texture for a deep dancefloor experience. The ambiance does a lot of story telling here, marking breaks and riding through drops to provide grit to an already substantial record. This leads us to the final contribution in Fuga VII - 'Ad Libitum'. Here, Porteix emphasizes the conclusion of the compilation with mystery. The synths slither around pulsating rhythm, creating uninterrupted motion throughout the track's entirety. Porteix draws the curtains on an inquisitive note, keeping the suspense high until the next Fuga compilation comes around.

Produced after a period spent alone, surrounded by the elements of nature, this record brought Katatonic Silentio back to her essence and her roots. The result is a dedication to the dancefloor through the genre she first became involved with, and to the music itself as the conductor of her whole life; an ever-changing entity of the essence of the soul; a bridge to the unknown and the depth of existence. A luminous voyage in the profound lightness of sound. Far from being an intellectual exercise, the album - the first club-oriented release by Krisis Publishing - is a physical and spiritual journey. This one is for the body, mind and soul, so that there may be harmony between the parties, between the inside and the outside, between the self and the other.

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Twenty years ago, somewhere in Scotland, an album that was the missing link between The Black Dog, Chain Reaction and Irdial was released by an enigmatic Glasgow producer called Pub, on his equally mysterious label Ampoule.

The album ‘Do You Ever Regret Pantomime?’ (2000) has become the stuff of local folklore, a key work in the UK’s rich history of IDM and ambient, and one of the most celebrated albums of the early noughties. Bizarrely, it even infiltrated the Billboard Top 100.

‘Do You Ever Regret Pantomime?’ is also very much a key statement from a producer who has chosen to stay in their own space, where everyone is welcome. Records like these are about losing yourself in the sound and creating your own universe to explore.

Over the record's 70 minutes or so you’re instantly wrapped in a deep matrix of spacious chords, abstract textures and gently shifting rhythms.

The 2020 reissue has been re-mastered and cut at Berlin’s Dubplates & Mastering, pressed as a 2x12” and features new artwork and a bonus track.

This release also heralds the return of Ampoule, the Glasgow label which released music from the likes of Lucky & Easy, Omens Jot and Moped Endo among others. Forthcoming releases will be a mixture of new music and re-issues from the archives.

"This majestic Italo-Disco tune, arranged by Pierluigi Giombini, possesses something magical and mysterious. "On Ice" begins with Natasha King's a cappella vocals and a sweet piano melody by the same composer who wrote "Masterpiece" and "I Like Chopin" for Gazebo. A classic Italo-Disco piece from the mid-1980s, which, more than its sales, achieved success in live performances and on TV shows for the grace and charm exuded by the artist, who was also a dance teacher at the time. The elegance and precision of every move are the foundation upon which Natasha builds her technique. The reissue of "On Ice" was never fully embraced by lyricist Natascia ''Nati'' Maimone, straying from her tastes in soul, blues and jazz. It was also overshadowed by her previous hip-hop track, "AM-FM" - released from Best Record in 1983 - which made the artist world-famous at the age of twenty. This reissue in both original versions was also created to allow new generations to relive, at least in part, the great musical era of the 1980s, a period of incredible musical richness combined with a carefree spirit."

In Mikey’s own words, ““Myths of the MediterrAlien” is a high-octane voyage through a universe where ancient cultures collide with futuristic visions.” For him “the MediterrAlien is a hybrid character who drifts between mythology and outer space, carrying fragments of both history and hyperspace into the club.” Across four explosive tracks, the EP reimagines deconstructed club and experimental bass through a fast, hyper-energetic lens. Each piece feels like a different chapter in the MediterrAlien’s journey, spiralling through cosmic turbulence, touching down on ancient shores, and refracting tradition through the intensity of a distant galaxy.

Designed for the late-night fringes of the dance floor, Myths of the MediterrAlien is both a personal mythology and a sonic wormhole—bridging the universe where Jensen Interceptor’s comes from with where his imagination is heading next.

All tracks written and produced by Jensen Interceptor. Master by Carlos Nascimento at Qualia Audio Lab. Artwork by Conhecido João & Diogo Vasconcelos

Forest Drive West returns to Mantis with a double pack of crooked, finely chiseled rhythms and porous, tactile atmospherics. Hovering comfortably between the distinct energies of drum & bass and techno, Joe Baker has helped define the creative upsurge in crossover tempos and tones with a practice that focuses on mood and presence rather than genre tropes. His first releases appeared 10 years ago on influential labels like Livity Sound, Rupture and Hidden Hawaii. He reconvenes on Mantis after delivering the first release for the Delsin series back in 2020. The scope across these eight new tracks is steeped in Baker's trademark restraint and subtlety, but equally he explores a broad scope of energies and tempos. From ambient, spacious downtempo and slow-motion, heavily dubbed drum mantras through to crisp, techy drum funk and dancehall-coded swagger, the range within the distinctive Forest Drive West sound is more versatile than ever. It's a range cemented further by the guest appearances on the album, as Patrick Russell comes on board for snarling, D&B-coded workout 'Uromastyx' and DB1 lends his chops to mesmerising closing breakbeat trip 'Planes'. Exquisite sound design with a mysterious streak binds these various approaches together. With club impact matched by spatial immensity, Mantis 1920 furthers the surefooted, intentional sound Baker has been shaping out as Forest Drive West for the past decade.

Originally released in the height of the underground disco revival, The Sounds Of Revolution EP has since become a sought-after modern classic. After years out of circulation — and with original copies now trading hands for €80-100 on the second-hand market — this long-requested EP finally returns to vinyl.

Italian producer Giovanni Damico (aka G-Machine / Ron Juan) delivers four timeless boogie cuts that perfectly bridge vintage Italo, cosmic disco and modern club energy. From the euphoric synth hooks of the title track to the robotic funk of “Italians In A Line”, this EP captures everything that made Damico a staple in DJ bags across Europe.

Carefully reissued for a new generation of selectors, this release is equal parts heritage and dancefloor weapon — essential for fans of Italo, nu-disco, boogie and anyone building a serious disco collection. Expected shipping: End of May/begin of June 26.

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

Trelik is an A-grade label for minimal heads and now the founder, Baby Ford, welcomes back fellow micro-house specialist Ion Ludwig for vital two-tracker. 'It Broke With Speed' starts with jittery rhythms and blurts of synth as the rubbery bass rolls on and the percussion is spindled lightly up top. It's a more fulsome sound than you might expect from this producer but the art is in the intricacies of its layers. 'Archa Edel' on the B is quick and deep, speedy but tightly controlled with fluttering snares peeling off the groove and cosmic whimsy existing in the pads. Classy cuts as always.

For the second IT record from Detroit's Andy Toth, he explores a sci fi fusion of electro and acid, with a remix by BMG of Ectomorph fame. Andy Toth has a long history in Detroit Techno, from an engineering and mixing background where he mixed records for the likes of Mike Huckaby and many others, to co-authoring "Sandwiches". For this record, Andy had the songs mixed on hardware by BMG in his studio, to give them an even more 3 dimensional sound and an even greater weight. The result for the "Mind Lock EP" is simultaneously hypnotic, acid, sci fi, and electro. The depth of tone, density of sound and maturity of concept come through the 4 deeply compelling tracks that you can just get lost in.

Discoweey launched back in February with a collection of label head Hotmood's hottest digital tunes making their way to wax for the first time. Now he is back with a second collection of worldly hits that collide Latin, disco, funk and soul into colourful and hooky grooves perfect for outdoor dancing under the sun or the stars. 'Por Que Me Dejaste' is a global groove with Spanish vocals flair, 'Dancing Is The Only Way' is a smoother disco-house blend and 'My Love Is 4U' is a soul-drenched and feel-good retro number before 'Hot Beat' closes with jazzy and cosmic synth expressiveness and timeless house drums for all the magical feels.

LS002 marks the first vinyl chapter of 20, Eitan Reiter's two-decade retrospective, distilled through key collaborations and remixes. Featuring Patrice Bäumel, Infected Mushroom, Shpongle, Red Axes, and Echo, this six-track release connects psychedelic heritage with contemporary indie dance and deep electronic aesthetics.
20 (Part 1) is a 12-inch vinyl edition featuring exclusive vinyl cuts, available only on this pressing. The selection reflects Reiter's ability to honor his roots while maintaining a distinctly modern sound,blending psychedelic foundations with cluboriented precision.

A1 - Eitan Reiter - Blue Planet (Remix) Vinyl Cut
The A-side opens with a spacious, atmospheric rework of Blue Planet, balancing restrained tension with melodic clarity.
A2 - Eitan Reiter - X-Vision feat. Echo Vinyl Cut
Echo's vocal performance anchors the track, presented here in a refined vinyl cut that enhances its emotional depth.
A3 - Eitan Reiter & A. Balter - E0E (Eitan Reiter Remix) Vinyl Cut
A driving, hypnotic groove where rhythmic focus meets evolving textures.
A4 - Infected Mushroom & Yahel - Electro Panic (Eitan Reiter Remix) [Vinyl Cut]
A confident reworking of a psytrance classic, reshaped into an 80s-leaning indie dance format.
B1 - Eitan Reiter - Eat You (Patrice Bäumel Remix)
Patrice Bäumel heightens the track's underlying tension with a slow-building, immersive reinterpretation.
B2 - Out of Orbit & Shpongle - No Disco (Red Axes Remix)
Red Axes flip the original into a dark disco framework, adding weight, swing, and late-night character.

LS002 presents a vinyl-focused snapshot of Eitan Reiter's collaborative output, with each track adapted for turntable playback.

Is the result of an unexpected and powerful connection between Meeks and Jedsa Soundorom.
Both have spent over 25 years immersed in music, coming from very different backgrounds but combining them to create something completely original.
Meeks, an experienced producer and beat-maker, made his mark during the French Touch boom of the early 2000s.
He worked with artists like Hernest Saint Laurent and Scratch Massive, earning respect for his attention to detail and his love of exploring sounds and textures.
Jedsa Soundorom, meanwhile, is a DJ and producer who’s traveled the world, always bringing new influences into his music and growing his unique style.
When they met a year and a half ago, it clicked right away. That connection became BUG DIVIsion, a project that blends Meeks’ careful precision with Jedsa’s raw energy, creating electronic music that feels both deep and natural.

2026 Repress

Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So this time around, we're doing something a bit different.

To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3 and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released.

Metro Area 4 is the duo's fourth 12" EP, originally released in 2001.

2026 sees Robert Hood going back to his minimal techno roots and then flip things forward with remastered releases from his ground-breaking label, M-Plant. Throughout this year the Perpetual Masters series has been dropping one track per week, digitally, from Hood's extensive catalogue with remastering by legendary German producer, Thomas Heckmann. Now coming to vinyl are two of these remastered tracks.

Robert Hood's "Psychic / Pole Position" is a classic which features his stripped-back minimal techno style that helped define the sound in the late '90s. Both tracks are built around hypnotic rhythms and sparse, precise grooves characteristic of Hood's influential production ethos. Originally released in 1999, the EP reflects Hood's focus on minimalist electronic structures and dance floor functionality, and has remained a sought-after piece among fans of the genre.

A reflective mood shapes this new ENSOULED compilation, which leans into thoughtful deep house and rhythmic exploration. Italian producer Kikko Esse sets the tone with 'Nightfall Chroma', a spiritual cut guided by warm chords and the sort of slow burn groove that is like sinking into a lush bath, and is later reworked by Alton Miller, whose Detroit-rooted style adds some lovely swing. On the reverse, Cee ElAssaad and Masaki Morii deliver 'Tribe', a more prickly percussive cut underscored by dub effects and spoken word. Hugo LX closes the 12" with a deeper club reinterpretation that keeps you locked.

The third installment of the Collaborations series by Artefakt on their own De Stijl imprint welcomes KMRU. The Nairobi-born, Berlin-based sound artist is known for his immersive use of field recordings, ambient textures and experimental compositions. Together they recorded an extended dialogue rooted in improvisation, shaped by environment and close listening. Artefakt and KMRU blur the lines between ambient, acoustic and electronic forms, creating a spacious and contemplative collection of improvisations.

RAWAX welcomes Valerio Vaudano to the artist family!
We are very happy to present you this talented producer from Italy with two parts of "The Sampling Theory" on CHIWAX.
High energy House at it's best!
Highly recommended!

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Dave Wallace is one third of Aquasky, as well as a founding member of Mad Dog and Fugitive. He also released his own EP’s on Moving Shadow and R&S in the 90’s and more recently an EP on TeeBee’s Subtitles label as well as a return to the rave with various Fugitive tracks and remixes on Vinyl Fanatiks over the past few years.

But one track has always alluded a release, there was always something that prevented it from being released. Originally written in 1995, it wasn’t until 1996 that he sent it to LTJ Bukem who went nuts for it, advising Dave to speed it up from its original 156bpm so he could play it. Upon doing so, it was also sent to Fabio and the pair of them played it on Kiss, Radio 1 and various gigs and festivals across the world. Dave was just in discussions to release it when Dillinja made a Bladerunner track using the same samples. In light of that and how the hierarchy worked in the 90’s drum and bass scene, Dave decided to pull the release and the track went back into the DAT draw… for 26 years!

This track has been requested by many to be pressed since Vinyl Fanatiks started as it had such a huge fanbase, so many people loved the track after hearing it either back in the day or on copies of mixes uploaded in recent years to the internet. An extremely desired track! But there was never a B-side to it… until Dave stepped into his Fugitive guise and brought the track up to date with one of the baddest basslines we have released on the label.

Join us as we take you on a ride from the smooth to the ruff!


Its all an expression!

Hen & Goose returns to the shelves with a heavyweight compilation for their 6th installment.
Gathering friends and family for a versatile 5-tracker, this record explores the raw and emotive side
of House music.

The record opens with a bang: Dukwa delivers a raw, driving peak-time cut that demands attention,
followed by the dusty, swinging grooves of rising talent Moglis. On the flip, Bobby Cazanova sets
the mood with "Realidad" – a lush groover carried by warm pads and a Balearic touch. This paves
the way for label head Júlio Cruz, who delivers a nostalgic, vocal-led Deep House anthem that
blends pure euphoria with a touch of melancholy. Finally, Bobby Analog closes the affair, taking us
back to the roots with his trademark raw and dusty sound.

A record bag essential that works from the peak time to the early morning hours.

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

Sublunar, the label founded by Sciahri, is proud to present the debut EP of Australian artist Connor Wall with Equals. Known for his releases on Phorum and Moving Pressure, Connor Wall is one of those artists capable of crafting a deeply personal and hypnotic sound, where each track unfolds as a journey of its own.

The EP opens with Oak, a minimal yet driving and atmospheric piece, before moving into Invert, a powerful track built around a unique and relentless escalation of tension. On the B-side, Equals sets the tone with growing intensity and hypnotic vocals that carry a story meant to be experienced until the very end. Construct follows with darker, more obscure vibes, delivering a deeply hypnotic and mental atmosphere, before the EP concludes with The End, a truly mystical journey that captures the essence of an artist able to transform sound into narrative.

7 Inch Purple Vinyl in Picture Sleeve

‘Red Moon’ is Alannah’s second solo single and marks her first ever physical vinyl release. The song reflects on growth, misdirection and self-reconnection, told through a woman looking back at her younger self. Written on a quiet beach in the Algarve, under a striking red moon, the moment became the catalyst for the lyrics, carrying a deep, spiritual stillness into the music. Alannah is a 23-year-old singer-songwriter whose sound blends RnB, jazz and hip-hop with soulful, storytelling vocals. Influenced by artists such as Sarah Vaughan and Billie Holiday, she views songwriting as a form of emotional release and shared healing. With performances at iconic venues including Ronnie Scott’s and Pizza Express Jazz Club, her voice carries a timeless energy, full of heart, vulnerability, and quiet power. Stanley Hood’s remix reimagines ‘Red Moon’ into a moody Deep House cut. Alannah’s layered vocals float over warm keys, late-night percussion, and thick, club-ready production, shifting the emotional core towards the dancefloor while preserving the intimacy of the lyrics. Supported across specialist radio and tastemaker sets. Released as a Record Store Day exclusive on coloured 7" vinyl with full picture artwork. Strictly limited run. When it’s gone, it’s gone.

For the first time on LP vinyl, Come Ahead: The Remixes Vol.2 (Dubs) brings Primal Scream’s club-ready reinventions into full analog glory. Originally released in FLAC format in 2025, this second volume dives deep into dub territory, reimagining tracks from Come Ahead with hypnotic grooves and spacious textures. Featuring reinterpretations by Lovefi ngers, Black Science Orchestra, Radio Slave, and Pet Shop Boys (in dub mode), each track pulses with low-end warmth and rhythmic experimentation. From the acid-drenched swirl of “The Centre Cannot Hold” to the narcotic haze of “Innocent Money,” this is Primal Scream at their most psychedelic and dancefl oor-minded. Specially mastered for vinyl, the sound is immersive and tactile — perfect for DJs, collectors, and audiophiles alike.

Eight tracks, nearly an hour of music, and a sleeve that nods to rave-era design make this a must-have for fans of dubwise house and experimental club culture. Limited pressing. Maximum impact. Come Ahead: The Remixes Vol.2 (Dubs) is available as 2LP Black Vinyl.