Search:the heavy heavy

Landing suitably on co:clear, At the Right Place at the Right Time is the spellbinding debut record from luminary figures of the Roman underground, Portamento.

As DJs and promoters of Scivoliii, the duo of Filipo Tosti and Álvaro Labao Garcia has been peddling a range of sounds over the last years. This time though, their attention firmly turns to transportative ambience, where melodic lines and mummering voices are rarely paired without weighty sub-bass. It's absolutely an ‘ambient’ record but the (soft) influence of the club sometimes peeks through.

Written between Forum Studios (fka Ennio Morricone Studios) and Álvaro’s tiny apartment in Trastervere during Rome’s torrid month of August, its sound owes itself as much to burning intimacy, as it does to the weariness of distance. It truly operates in those moments of devotion/desire between the late-night/early-morning, like a candle at the end of its wick that flickers, before it's finally extinguished as your eyes become too heavy to resist sleep.

$uicideboy$’ Stop Staring at the Shadows continues to stand out as a defining project in the duo’s catalog, showcasing the dark, atmospheric production and raw, introspective lyricism that have helped establish them as one of the most influential acts in the underground rap space.

The project further cemented their ability to connect with a highly dedicated global fanbase while pushing their sound deeper into the mainstream.

The release has become a fan favourite, with tracks such as ...And to Those I Love, Thanks for Sticking Around continuing to generate strong streaming activity, social engagement, and renewed discovery years after its original release. Its heavy production, emotionally charged themes, and distinctive $uicideboy$ aesthetic have given the project lasting catalog value and a strong connection with their core audience.


















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Originally released in 1990, as a triple album in box set with probably the best work THE KLINIK ever did. A selection of their musical works all recorded between 1984 & 1988 and never released before, the box came as a limited edition in 1990 and was sold out in no time, and therefor very rare and hard to find.

Now Antler Records has revisited the box, remastered into a sound experience like you never had before; 6 sides packed in newly designed inner sleeves with band photo's (by Inge Bekkers) that have never been published before. 6 sides, three heavy weight vinyl albums in one extra broadened single album sleeve. Cold electronics, shivering spheres, minimal and highly atmospheric, a soundtrack for a still to be made film. A sound experience like you never had before!

The Klinik is Marc Verhaeghen-Music & Dirk Ivens-Lyrics
All Tracks recorded in the Lab between 1984 & 1988
Digitally Remastered in 2026 by Pieter De Wagter(Equus)

Hell is empty and the salsa is all there is.

Chúpame el Dedo are BACK! After years of terrorizing the avant-tropical underground with their manic, mock-satanic metal-cumbia madness, the legendary Bogotano duo of Eblis Álvarez and Pedro Ojeda have officially scrubbed the pentagrams off the drum kit. They aren’t worshipping the dark lord anymore; they’ ve found a much more chaotic deity. Please lower your expectations and raise your instruments: Chúpame el Dedo are now officially Geobah Witnesses.

Forget everything you thought you knew. This new record is a high-octane salsa-altín exorcism. It’s not your abuela’s dance music; it’s a fever dream—like Waka Waka played at double speed through a frying mixing desk that’s caught fire mid-verse.

The Chúpame delirium remains terminal. We’re talking classic, hard-swinging Caribbean breaks that trip over jagged psych-synth riffs, all tied to those signature “broken” vocals—jumping from gutter-low growls to manic, helium-choked chirps. It’s twitchy, heavy, and lyrically, the most blasphemous shit they’ve ever committed to tape. It’s a holy, nonsensical collision that’ll leave you wondering if you’ve been saved or just brainwashed.

Put down the pitchforks, pick up a maraca, and surrender to the frequency. Geobah is watching.

Each year, countless people slip quietly out of their own lives, leaving no trace behind. The Japanese have a word – 蒸発 “joha’tsu” – the ones who “evaporate.”

Some flee mundane and heavy lives or simply the shadow of themselves. A few turn to the – 夜逃げーや “yonige-ya” or “night‑movers” – companies that specialize in helping someone vanish and begin again in some distant place.

stray dogs is the second full-length album from the Finnish electronic duo Shepherd’s Call. Released on the BELOW0 label, the project blends moody, emotional ambient textures with experimental club beats and live cello arrangements. This physical edition is pressed on heavy 180g black vinyl and features exclusive vocal dub tracks on Side B with guest spots from 3NDLES5, Merely, and Glayden.

Release 2: French Dub (Sound Klash Mix) / Don't Turn (Sound Klash Horror Edit) Stompa Phunk resident Sound Klash delivers a double-header of raw, analogue, weight-engineered music for heads. This isn’t clean; it's when vintage hardware is pushed to its limits. Built on a foundation of second-hand samplers, overdriven preamps, and tape-spliced editing, these tracks are raw and physical.

The Philosophy: This release is a pure distillation of the ethos that has sustained Stompa Phunk’s dancefloors since 1996. It is uncompromising electronic music built for the heads; rooted in heavy sampledelia, jackin' bodies, Acid energy, and a classic disco-dub mentality.No compromises, no trends. Just Jackinacidiscotech!

Fred Peterkin releases a lot of music but rarely hands his work over to other artists to remix. This EP, which sees a trio of artists deliver their interpretation of the Berlin-based New Yorker's strings-and-piano-drenched 2023 deep house number 'Someone', is therefore an interesting development. He kicks things off with his own smooth, bass-heavy 2026 'Interpretation', an even deeper and more sensual take that blends dancefloor weight with light-touch jazziness, before Juliet Mendoza takes over with a more locked-in interpretation smothered in warming Rhodes motifs and snippets of soulful, eyes-closed vocal. Dave Aju's take is more weighty, psychedelic and propulsive, while Korea Town's 'Acid' interpretation is darker, faster, tougher and altogether more thickset - the kind of revision tailor-made for peak-time moments in dark basement clubs.

The third and final volume of remixes of 'Come Into My Life' by Nathalie Capello and Rose Lonegran is yet another doozy for lovers of emotive, meaningful deep house. Another bunch of heavyweights step up, starting with Mystic Bill who teases out a steamy-hot lead and builds a vibe around it. UK mainstay Jimpster plays with a dubby and bubbly low end, while Move D finds jazz-funk in the squelchy bass. Last of all, Underground Quality head DJ Jus-Ed steps up with his remix and explores more dusty textures, a slightly unsettling synth vibe and roomy, hypnotic grooves for late-night dancing.

Clear w/ Red Splatter Vinyl. Originally unleashed in 1985, Master Of Disguise by Los Angeles speed metal pioneers Savage Grace remains a benchmark of high-velocity American heavy metal.

„Me and the Noise“ von Wasuremono ist das bislang ambitionierteste und klanglich vielschichtigste Album von William Southward, auf dem er schimmernden Indie-Pop, mitreißende Hooks und eine euphorische, groß angelegte Produktion mit intimeren und nachdenklichen Momenten verbindet. Nachdem Southward ein Jahrzehnt lang unabhängig in seinem Gartenschuppen in Bradford-on-Avon Musik geschaffen hatte, öffnete er den Produktionsprozess und holte Tony Draper für den Mix sowie Dick Beetham für das Mastering mit ins Boot – das Ergebnis ist ein kühner neuer Sound, der auf seinem melodieorientierten Songwriting aufbaut. Das Album knüpft an eine Reihe von Erfolgen an, darunter über 16 Millionen Streams für „Are You OK?“ sowie die Verwendung seiner Musik in „Heartstopper“ und im Trailer zu „Goodrich“, während Titel wie „No More Dancing“, „Is It Weird or Is It Me?“ und „Sleeping Out“ die Bandbreite seines Songwritings demonstrieren. Die Vinyl-Ausgabe erscheint auf schwarzem Heavyweight-Vinyl, wurde im Half-Speed-Verfahren gemastert und ist in einer Gatefold-Hülle untergebracht – damit ist sie eine hochwertige physische Ausgabe, die ein bedeutendes neues Kapitel für Wasuremono einläutet.

Rick Wade’s Late Night Basix returns in a fresh repress, keeping that raw Detroit deep house spirit alive. Heavy on groove, soulful in feel, and made for late-night sessions.
A must for heads who know the value of a true floor weapon.

Four heavyweight cuts of classic Gabriel.

Memoria returns with MEM064, welcoming Brizman to the label for a four-track journey through stripped-back grooves, deep atmospheres and dub-infused minimalism. The A-side sees Brizman on solo duty with Detroit Awareness and That Chord, two subtle but effective club tracks where rolling rhythms, warm chords and hypnotic details do the work. On the flip, Brizman joins forces with Szafran (Oskar Szafraniec) for Reworking The Dub. Spacious, bass-heavy and deeply hypnotic, the track takes the record into distinctly dubby territory. Cirkel Square closes the EP with his remix of Reworking The Dub, reshaping the original into his own tightly-wound interpretation while retaining its deep, soundsystem-minded character. Four cuts covering the space between minimal house, dub and late-night electronics, understated, functional and made for the floor.

Mechatronica presents “Residual Future” by Koloah. Across six tracks, Koloah delivers a striking fusion of futuristic electro, bass-heavy rhythms, and expressive vocal experimentation. Combining powerful machine grooves, processed voices, and detailed synth programming, the EP explores the connection between human emotion and technology. From the driving energy of “Graduate” and the vocoder-driven character of “Vocodex” to the deeper moods of “System” and the sharp rhythm of “Edge”, the release moves through a wide spectrum of electronic forms — balancing dancefloor impact with atmosphere, melody, and a strong sense of storytelling. The journey expands further with “Elevator”, a slower, immersive descent built around hypnotic movement, spacious textures, and a more introspective emotional pull. On the other side, “Jump” pushes the pressure higher — a peak-time electro weapon driven by explosive rhythms, heavy low-end force, and Koloah’s unmistakable futuristic energy. Throughout “Residual Future”, vocals become a central element: fragmented, transformed, and woven into the machinery of the tracks. Human traces merge with precise rhythms and futuristic textures, creating a sound world that is both soulful and synthetic. A distinctive statement from Koloah, delivering forward-thinking electro with depth, emotion, and a unique voice-driven identity.

Platypus Trax's first edition of the annual vinyl VA-series brings together an impressive bunch of artists around the globe! A1 - Guchon (Japan) - Hard Normal: A timeless club roller with a hardgroove attitude and inventive splatter of vocal cuts and sounds, that blend together with the driving drums and hard and stabby bassline. 140BPM A2 - Chambray (Germany) - Step Aside: A legend that is Chambray brings the old school ghetto techno back to his repertoire with Step Aside, not shying away from keeping it as minimal as possible, yet keeping the overall sound as full and destructive as possible. 132BPM A3 - Joedan & Killaman (UK) - Slam Down: A fun little ender for the A-side by them boys from Leeds. Big drums and even bigger techy bassline for the peak time of almost any event imaginable. 135BPM B1 - Little By Little (France) & Reginald (Finland) - City Skyline (Detroit Mix): A touch of experimentalism and big synths molded together with sick drum groove and stretchy vocal line. Wait for the second drop for pure nostalgia! 140BPM B2 - Beth Alana (Germany) - Birds of Paradise: A minimalistic workout from the depths of Berlin. Fresh soundscapes and the voices of birds counterbalancing the deep groove and heavy basses. Meditative piece to end the compilation with pure style and respect. 145BPM

Jungle cemented their status as a major global force with their 2023 album ‘Volcano’ - a record that earned them their first BRIT Award and featured their worldwide smash hit single ‘Back On 74’. The trio - J Lloyd, Tom McFarland and Lydia Kitto - return with their eagerly anticipated new album ‘Sunshine’ set for release on August 14th. The album is launched alongside the new single ‘Carry On’, which was premiered as BBC Radio 1’s Hottest Record. Along with the single release and album announcement, Jungle have also confirmed details of their forthcoming global headline tour this autumn, which includes arena shows spanning three continents. 'Sunshine' will be available digitally and across a range of physical formats: standard black vinyl, 'desert peach' vinyl, translucent brown marble vinyl — all as single gatefold LPs — plus a digipak CD.

DJ Support: Sam Don, Severino Panzetta (Horse Meat Disco), Chris Howler, Sean Johnston, Bill Brewster, For Mankind, Craig Thompson, Andy Taylor, Massimiliano Pagliara, Dean Dixon, Nathan Detroit and many more

Underground Institution Stompa Phunk Re-Launches Vinyl Label with Raw, Chi-House-Inspired Energy. After three decades of defining the UK’s underground club landscape, legendary Brighton party collective Stompa Phunk is officially moving from the dancefloor to the wax with the relaunch of Stompa Phunk Records Inc.

The Heritage: From The Warehouse: The releases will directly honour the roots of house music, a genre born in 1977 at Chicago’s legendary nightclub, The Warehouse. As that scene matured, a grittier, faster, and more experimental counterpart emerged. Defined by an uninhibited, bass-heavy style, it was a movement driven by local innovators who pushed drum machines and synthesisers to their breaking point... It wasn't just a genre; it was a collision between pure imagination and raw machines. A true "sound klash" transformed the local underground subculture into something global...

Release 1: You Had It (Edit) / Music Got (Dub): Capturing the exact spirit of rough, tape-spliced dubbed cuts. The 12-inch from SP resident Sound Klash pairs a vintage production ethos with old hardware pushed to its limits...

The Philosophy: This EP perfectly mirrors the exact philosophy that has fueled Stompa Phunk’s dancefloors since 1996: uncompromising electronic music rooted in heavy sample-delia, jackin' bodies, Acid energy, disco-dub mentality and second-hand technology. Jackinacidiscotech!

Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

Polygonia and Simon Popp present ‚Apiformes‘, the second collaborative release from the two Munich-based artists.
As with 2023‘s ‘Candid’, ‘Apiformes’ was born from pure improvisation. Originating from the stems of four concerts, additional elements were built on from a foundation of live recordings — an intuitive endeavor by the musicians with such integrated effects to give one the impression of a sole sonic organism, and mystifying which sound is coming from which performer. Rapid creative decisions create an intriguing sense of aliveness, producing a uniquely vibrant buzz of jazz and electronic influences.

The duo set an otherworldly tone in their latest release, with leanings towards acoustic and percussion-heavy instrumentation, combined with playful synthetic musings which create a sense of opening up: an intriguing and earnest exploration of the ethereal, and what is available in nature as a window to the divine. Named for the scientific name for bees, the project’s mix of warm, dynamic improvisation and sequenced synth instrumentalisation mimic the similarly complex mathematical structures of a bee colony: a visual and sonic world made up of geometric shapes, mating dances and navigation patterns, sensations perhaps most energetically available through a sense of wonder rather than logical extrication.

A landmark of 1970s Turkish psychedelic funk, Zafer Dilek’s Oyun Havaları returns to vinyl 50 years after its original 1976 release on the legendary Yonca Müzik label.

One of the defining figures of the 1970s Turkish studio scene, Zafer Dilek transformed Anatolian melodies through his distinctive microtonal electric guitar and groove-driven arrangements. Across twelve instrumental reinterpretations of regional Turkish melodies, psychedelic guitar, bağlama, heavy bass and tightly locked percussion meet in a sound deeply connected to the golden age of Yeşilçam cinema and embedded in Turkish collective memory.

The album’s influence reaches directly into today’s global Anatolian psychedelic movement: Altın Gün later reinterpreted two tracks from the record, while Khruangbin championed the cult dance-floor cut “Yekte.”

Long sought after by collectors in its scarce original pressing, Oyun Havaları is finally available again as an official archival reissue, restored from the original master tapes, mastered and lacquer cut by Frank Merritt at The Carvery, London, and pressed on 180g black vinyl at Record Industry, the Netherlands.

Machetes & Micheladas pairs Coyote’s sharp, street-rooted lyricism with Statik Selektah’s signature boom-bap polish, delivering a cohesive West Coast–meets–East Coast statement packed with heavyweight features. The album moves effortlessly between gritty anthems like “Can I Get A Hell Yeah” with Conway The Machine and the raw energy of “Fuck Everybody” with Daylyt, while keeping a strong Cali identity on cuts like “Cali Dreaming.”

Standout collaborations include Xzibit on the explosive intro, B-Real & Sick Jacken on the smoky “Whippin’ Cream,” and Curren$y on the reflective “Nothing Changes If Nothing Changes.” Tracks like “Letter To My Son” and “Whats Peace” add depth and introspection, balancing the harder-edged moments with personal storytelling.

With tight sequencing, cinematic interludes, and Statik’s soulful, hard-hitting production throughout, Machetes & Micheladas is a modern hip-hop record that bridges coasts, generations, and styles without losing its edge.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

2026 Repress

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.

Released in 2018 this extremely limited four track 7" EP is the only physical release by the Indonesian producer and local harsh experimental music pioneer Tembok Kamar Dinding Sekolah who unfortunately passed away only a few weeks prior to his actual vinyl debut on the underground imprint that is Flop Beat Disk.

Therefore this posthumous and highly limited to 120 copies pressing remains the only glimpse into his sonic world, seemingly formed and developed in a place rather isolated from the rest of the electronic music scene, a four track release spanning an arc from haunted Unformatted Techno to Rhythm Industrial x TechnoJazz amalgamations as well as bass heavy Broken Techno fusion and ethereal, hyperdecaying IDM x Glitch realms. This is for the most adventurous and headstrong amongst the DJs only.


Never officially distributed before this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.

Limited pressing of 120 copies.

From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.

From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.

Toronto’s Lammping is a project built on the idea that music can exist across timelines. Founded by Mikhail Galkin and Jay Anderson, the band’s sound draws equally from heavy psych rock, hip-hop, classic songwriting, and experimental collage, creating records that feel both familiar and impossible to place within a single era or genre.

Their latest album, So What, What?, is the clearest expression of that approach. Built from fragments of memory, influence, and lived experience, the record moves seamlessly between sampled textures, personal storytelling, and adventurous songwriting. References to everything from Soviet-era recordings to golden-age hip-hop sit alongside reflections on family, parenthood, and the uncertainty of the present moment. Yet despite its wide-ranging influences, the album remains firmly rooted in songcraft rather than nostalgia.

This collection compiles all of Crow's studio albums with their original '69-'71 lineup. Crow Music, Crow By Crow and Mosaic are each individually packaged with a liner note insert - all contained in a pizza box style package!

Crow Music gives listeners organ-laden funk wonderment! Combining gritty blues with nasty, hard-charging garage rock, this album includes their Billboard Hot 100 hit "Evil Woman (Don't Play Your Games With Me)."

Crow By Crow sees the band really turning up the heat! Their sophomore release spawned two minor hits, the Larry Williams cover “Slow Down” and an original, “Cottage Cheese.”

Mosaic carried early ‘70s rock to new heights, blending a new mixture of country and blues. With heavy steel pedal on “Watching Can Waste Up The Time,” Mosaic was Crow’s last effort to make it big before vocalist David Wagner departed the group.

Casabianca returns with Omatucada, the second vinyl release from Zagreb-based DJ and producer MIMI.

Omatucada is a journey through percussive sampled rhythms, combining live-recorded instruments, vocal textures, and analog synths across four original productions.

The title track, "Omatucada" opens with a rolling tribal beat and hypnotic vocal fragments, revisiting one of MIMI's earliest productions, originally written many years ago.

"O Lado Negro De Felix" ventures even deeper into dark tribal grooves, suggesting that there is always some light within the darkness, and vice versa.

The B-side moves into more cinematic territory. "VCM" builds driving momentum, drawing heavy influence fro

Official reissue of the massive Sourmash – Pilgrimage to Paradise, originally released on Prolekult in 1993.

This essential reissue brings together both original versions, alongside heavyweight remixes from Hardfloor and Timo Maas.

Both original versions command serious money on Discogs, here’s your chance to grab the whole package for a fraction of the price — and beat the sharks!

Ariadne's Labyrinth returns with Endless Corners on Adepta Editions. Classically trained yet shaped by London's illegal rave scene, her distinct sonic language is born from live improvisation. Following acclaimed releases on Detroit Underground and Touched Music, this EP seamlessly intertwines the dense, physical pulse of underground club culture with breathtakingly beautiful string arrangements. It is a visceral journey, bridging heavy dancefloor tension with vulnerable, chamber-esque introspection.

Moroccan-born producer Reda Senhaji, better known under the name Cheb Runner, presents 80K, the second installment in Beat Machine’s TERRA TEMPO series. A direct tribute to the cultural heritage of the Souss Massa Darâa region, the release reactivates ancestral rhythms and translates them into a forward-looking electronic language rooted in place, memory, and physical sound.

Drawing from traditions such as Ahwach, Gnawa, and other interconnected practices from the Souss region, the EP preserves original rhythmic skeletons while reimagining them through modern production and club-oriented structures.

Across six tracks, traditional instruments and electronic elements collide fluently, where the 808 functions as a structural force rather than an accent. From the rolling pulse of Iznagn Engines and the evocative contours of Azn Oudrar to the spiritual resonance of Gn-Awa, the B-side expands the journey with the sub-heavy Afouss Adar 808, the atmospheric Tarwan Ganga, and a reinterpreted Gn-Awa by Guedra Guedra, layered with intricate textures and low-end pressure.

Moving between bass, world, and electronic territories, 80K reflects a deliberate balance between preservation and transformation. Music that carries ancestral rhythms into new listening spaces, bridging generations, cultures, and sonic worlds within a single, cohesive experience.

The intriguingly named Pigeon Steve joins Especial for an EP of trippy, psychedelic electronic dance music that goes far beyond its origin – a thirst for all forms of movement – a struggle filled with all possibility.

Since its inception, the label has sought to take inspiration from a wide range of music genres – new wave and new beat to disco-not-disco, post punk and proto-house – never looking for a trend. This belief system expressed is human; intimate and authentic, dissolving and uniting around shared truths and universal values.

Music as ecstasy, the flux of rhythm and sound, to find and be yourself; no guilt, no competition, no games. It is phenomenon – magick – that short circuits through human (emotional) response.

Relocated to South-East London, Glaswegian DJ and producer, Pigeon Steve aka Adam Low, showcases his talent. A dubby, trippy approach to DJing mirrored in his productions; the recent, well-received EPs on the esteemed Offen Music and Weirdos Inc lead here – an EP of sample heavy cuts, wrapped in echo-laden grooves, the beats dripping in psychedelic, new beat and steppers electronica.

Dialect locates us, through its cadences, inflections and intonations we journey through life. Language allows us to escape the lion in a cage. The moment we forget ourselves, we can reach joy and clarity. To live is to exist, the struggle against controls, fighting for an individual destiny.

Burnski's Instinct label hits release number 40, having very much helped to define this latest era of minimal, tech and garage mutations. Mattik is in charge for this one and he has become a northern heavyweight in this world. 'Original Badboy (It's Ecstasy)' is a title alone that tells you what to expect - naughty, playfully sleazy garage sounds with old school motifs and a killer descending bassline. 'We Tell Dem' brings an acid squelch and screwy synths that are decidedly futuristic. Mattik & Tuff Trax's 'Get No Sleep' tightens the low end bump and drops in some neon chords and choppy garage-house drums, while Cronnik's 'Feelin' (Mattik's Got The Feelin' mix) blends bumpin' drum work with spraying synths and wobbly bass. Fantastic fun.