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Spaceships on the Blade is the 2022 solo album from San Francisco legend, entrepreneur and rapper, Larry June. The 20-track album features the singles, “Private Valet,” & “In My Pockets,” and sees production from a wide range of producers such as, The Alchemist, Jake One, DJ Khalil, Cardo, DJ.Fresh, Chuck Inglish, Turbo & more. Enlisting the help from fellow rap luminaries such as 2 Chainz, Babyface Ray, Curren$y and more, Spaceships on the Blade shows that Uncle Larry always has an eye on expanding and diversifying income steams and will continue to do numbers for a long time. Good Job, Larry. 2xLP, Black Vinyl, Widespine Jacket, Printed Sleeves.

La Textil Collective & 303 Audiophile Bar new label Backstage Records is finally here.

To kick off the first release Downtown Sai is in charge with 4 dancefloor-weapons 'Feel Mad Good EP' a walk between French House and Electro Sai's unique production style.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

For its eleventh installment, Raw Soul continues to carve out its place in the deeper end of the house spectrum, this time welcoming Stuttgart-based DJ and producer Jakob Mäder to the fold.
Titled "House Your Feeling", the five-track EP captures Mäder's wide-ranging musical language-rooted in house, yet drifting effortlessly into ambient textures, disco-tinted warmth, and subtly experimental structures. It's a body of work that feels both intimate and expansive, equally suited for late-night listening and early-morning dancefloors.
The collaboration has been a long time in the making. Built over months of close exchange, the project reflects not only a shared musical vision but also a genuine personal connection. That sense of trust and patience resonates throughout the record-carefully crafted, unhurried, and deeply felt.
Across the EP, Mäder explores different shades of house music: from reduced, dreamy cuts to more groove-driven moments, always maintaining a distinct emotional core. One of the highlights comes in the form of a collaboration with Markus Phillip, adding another layer of depth to an already rich release.
Known for his work with the Midnight Service crew and his eclectic productions spanning ambient, deep house and breakbeat, Mäder brings a refined yet playful touch to Raw Soul's catalogue. With "House Your Feeling", he delivers a timeless contribution that feels grounded in the present while nodding to the genre's enduring legacy.

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

Yore Records proudly welcomes Craig Alexander with a deep and timeless 12" straight out of the birthplace of House: Chicago.
Across four previously unreleased cuts, Craig Alexander delivers a refined blend of deep, jazz-inflected House music. Rooted in the classic traditions of the genre yet shaped by a distinctly musical and organic approach, these tracks unfold with warmth, depth, and subtle complexity.
Rich chord progressions, soulful textures, and fluid grooves come together to create a truly immersive listening experience. There’s a clear nod to the golden era of House, while the production maintains a fresh and contemporary edge — perfectly aligning with the ethos of Yore Records.
This 12" is both a DJ tool and a deep listening journey — versatile, emotional, and built for long nights and early mornings alike.
A genuine and heartfelt statement from an artist deeply connected to the roots of House music.Strictly limited to 250 copies worldwide / no repress.

Jolene Cuts delivers a stunning 5-track vinyl-only release that reinvents the spirit of 90s French Touch for today’s dancefloors. No edits here—these are 100% original productions crafted by Danny & Mike, masters of filtered house grooves. From the funk-drenched “Without,” a Kool & The Gang-inspired house monster, to “Fall,” a euphoric blast reminiscent of the best Daft Punk moments, every cut is designed for maximum floor impact. “Mon ami Julien” dives deeper with a warm and hypnotic Scott Grooves vibe, while “Ready for Love” feels like Cerrone remixed by early Bob Sinclar at his peak—pure disco magic reimagined. The record closes with “Burning,” a banging, feel-good anthem built to ignite any set. This is a true celebration of filtered house, disco energy, and feel-good music—strictly vinyl, strictly limited, and packed with five undeniable club weapons. Perfect for DJs who want to tear the club apart, vinyl purists, and anyone who knows that real French Touch doesn’t need gimmicks—just groove, soul, and timeless dancefloor power. Once it’s gone, it’s gone.

This release is part of the La Bush Reunion concept, created by DJ George’s, which keeps the club’s energy alive by blending La Bush’s iconic classics with contemporary productions designed for today’s dancefloors.

For this chapter, four tracks by the concept’s residents (DJ George’s, Laurent Top, Cedric Piret (CP), Michael Forzza) are brought together. Four complementary visions, shaped by club culture, turntable experience, and a relentless pursuit of groove and intensity.

Français

Enigma Records, le label dirigé par DJ George’s, résident historique du mythique club La Bush, présente LA BUSH REUNION – CHAPTER 1.
Cette sortie s’inscrit dans le concept La Bush Reunion, créé par DJ George’s, qui fait revivre l’énergie du club en mêlant les classiques incontournables de La Bush à des productions actuelles pensées pour les dancefloors d’aujourd’hui.

Pour ce chapitre, quatre titres des résidents du concept (DJ George’s, Laurent Top, Cedric Piret (CP), Michael Forzza) se retrouvent réunis. Quatre visions complémentaires, façonnées par la culture club, l’expérience des platines et la recherche constante de groove et d’intensité.
LA BUSH REUNION – CHAPTER 1 perpétue naturellement l’esprit de La Bush : garder l’ADN qui a fait vibrer le club tout en l’emmenant dans le présent. Pas de nostalgie figée, mais une énergie qui évolue et continue de faire danser les foules

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

DJ Support: Layne Fox (40 thieves), Dr Rob/Banbantonton, Don Letts, Sean Johnston, Tim Sweeney, Richard Norris/The Grid., Andy Sims/Soft Rocks, Stephen KIW, Alex From Tokyo, Pete Herbert, Pete Gooding, Ewan Pearson, Richard Sen, Balearic Mike(Down To The Sea And Back)

Craig Bratley’s sophomore album, Return To Bass, has been a long-time gestating, with a whisky-like distill time in the musical barrels from whence this came. His debut was in 2014 and 12 years later here he is again, in the blink of a, er, Jurassic age. In that time, he’s gathered a good deal of experience, released several musically varied 12-inches, as well as having Andrew Weatherall remix a few of his efforts (not completely surprising, since The Guv’nor also played Craig’s music).

Bratley has spent the last few years honing his musical and technical skills which are evident on this album, as are his influences, which can be heard on his impressively consistent back catalogue, include Italo-disco, British electropop, acid house and a slowed down version of Chicago house that lends it a heroin crawl. Added to that, though, is the dub reggae sound championed by King Tubby, Lee ‘Scratch’ Perry and our own Dennis Bovell, which is much in evidence on this set.

It seems apposite, in the wake of the death of Sly Dunbar (and, less recently, his partner, Robbie Shakespeare) that Craig’s album is now appearing, since Bratley’s sound is imbued with a dub sensibility and the engine of the whole set is built around the thud that Sly & Robbie brought to their greatest productions; the song titles are clues: ‘Plasticine Dub’, ‘Return To Bass’ and ‘No In Between Dub’.

The LP Features standout vocals from Amy Douglas, Thomas Gandey, and Ola, plus funeral-march trumpet work by Tim Hutton.

Berlin-based label Ascension on Wax continues its deep, jazz-inflected trajectory with the forthcoming release A Quiet Storm EP from DFRA, arriving June on 12" vinyl and digital formats (Cat No: AOW005). Available to buy and pre-order from May 15, the EP showcases DFRA's refined blend of soul, jazz, and classic house sensibilities, enriched further by a remix from Detroit's Jon Dixon.
Hailing from Colombia and now based in Buenos Aires, DFRA (Diego Ruiz) brings a deeply musical approach shaped by formal studies in composition and a lifelong immersion in hip-hop, gospel, soul, and disco. His productions balance two complementary sides, lush, jazz-rooted musicality and the raw, driving energy of Detroit and Chicago house. This duality is fully realised across A Quiet Storm EP, marking another step in his evolving sonic identity.
The title track, "Quiet Storm," opens the record with a deep, rolling groove elevated by exquisite saxophone work, setting an introspective yet dancefloor-ready tone. "Strings" follows with a dreamy atmosphere, rich piano textures, and a warm jazz undercurrent that highlights DFRA's compositional finesse. On "Charlene," soulful vocals intertwine with chord progressions reminiscent of early Motor City Drum Ensemble, delivering a nostalgic yet forward-looking house cut.
Completing the package, Jon Dixon reimagines "Charlene" through a distinctly Detroit lens. Stripping the track back and rebuilding it with deeper textures and signature keys, Dixon channels the spirit of Underground Resistance while pushing into more meditative territory, bridging jazz improvisation with machine-driven rhythm.
Founded in Berlin, Ascension on Wax continues to honour the legacy of jazz within house music, pairing contemporary producers with a strong visual identity and limited vinyl releases. With A Quiet Storm EP, the label reinforces its commitment to soulful, authentic club music rooted in the traditions of the 90s US scene while looking firmly ahead.

Originally from Patagonia, Aldana grew up deeply connected to the Earth. It was in Buenos Aires, however, that she shaped her musical identity, immersed in a vibrant and inspiring scene. Influenced by the energy of parties and the community around her, she soon felt the urge to channel that intensity into her own music.

Today, she marks a new chapter for Luzerna with the label’s very first EP — a project moving between the emotional and the physical. There are more introspective moments and others that are more direct, designed for the dancefloor. It’s also very versatile and can be experienced in different contexts and moments.

The production is largely driven by intuition, allowing the sound to find its own shape.Although each track has its own identity, they are all connected by groove, like a constant pulse that brings them together.

Labyrinth marks the debut release from Theorum, a brand new collaborative project between A.Paul and Lisa Oakes.
The EP features original productions from the duo, alongside solo contributions from both artists.
A remix of the title track by Ramon Tapia delivers a fresh, driving reinterpretation, deepening the EP's hypnotic, driving energy.

After some hiatus, Texas' pioneering Uni.Form records label owner, Jake Childs, returns with "Then & Now": a compilation of tracks spanning 20 years of visionary musical production.

Forever exploring the boundaries of house and techno, "Then & Now" showcases Jake's pursuit for unity whilst playing soundtrack to a personal narrative.

"MODEM - In itself, as a name invented for a band, it's significant. MO comes from "MOdulazione." DEM comes from ''DEModulazione'', logical functions in analog and digital transmissions. And the signal that the Bologna duo AMIN-PECK want to give us is that "Your Fun" and "Valerie" contain artistic and musical information, especially avant-garde, created in an electronic style with strong new wave tendencies, but absolutely ahead of its time. Among the Italian discos of end 70s that represented a cultural phenomenon that has remained in the collective imagination, ''Picchio Rosso'' stands out. Besides serving as an entertainment venue for thousands of young people, it served as a bridge between DJs and many talented young musicians. The discotheque was the laboratory for 4 Italo-Disco productions, all recorded at the Amin-Peck studios in Bologna, under the direction of Giancarlo Meo, who, after the successes of Easy Going and Vivien Vee and other Claudio Simonetti productions such as Capricorn and Kasso, enjoyed great esteem and prestige. This is how excellent Italo-Disco songs like "Another Song" by Music Service, "Eve of Destruction" by Vivien Vee, "Boogaboo" by The Jugglers, and "Running Straight" by Amin-Peck were born, the latter being the true musical architects of Peecker Melody, including the one-off project MODEM.. What can be said about "Your Fun" and the instrumental "Valerie"? Simple, slightly hypnotic, wellconstructed, and catchy songs. Just as the two songs were mixed by various Picchio Rosso DJs of the time--Luca Zanarini and Silver were the most legendary--Best Record has reissued them, with the same cover designed by Leonard Parker and featuring Claude Gorial, the man who 40 years ago designed the original cover and the current reissue. Same names, same success !!!"

-3LP triple set featuring all the Prescription versions and the newly created AD II artworks by Steven Stapleton.



The booklet features all lyrics, extensive liner notes and sheds light on the interesting circumstances of the creation of this Coil release by Gary Ramon who not only instigated the sessions but also provided the haunting location for their recordings.



Has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Steven Stapleton design & layout by Oleg Galay.

The Producers Press Volume 3 (WEB13-024) is a standout vinyl release celebrating the depth and diversity of House and Garage music. Featuring a strong and well established lineup of producers—Danny J Lewis, Para, Raw Groove, and James Lavonz—this compilation delivers a rich blend of House and Garage music.

Pressed with care for collectors and DJs alike, the record comes housed in a quality paper inner sleeve, paired with striking artwork presented on a printed card outer sleeve which features the artwork from all of the past releases on the Label and is A must-have addition for vinyl enthusiasts and fans of authentic underground House & Garage music, Volume 3 continues the series’ reputation for showcasing refined, forward-thinking production.

Guidelines launches its 2026 schedule with a heavyweight two-tracker from Toby Ross, pairing two cuts built for very different corners of the dance.

On the A-side, “Can’t Do It” lands as a straight-up dancefloor heater rolling low-end pressure, clipped vocal stabs and a hook that locks in quickly and refuses to let go. Built with peak-time intent, it’s direct, physical and engineered to hit hard on proper systems.

Flip it over and “Interruption” dives headfirst into classic amen territory. Chopped, urgent and restless, the track drives forward on tight edits and raw break energy, balancing precision programming with that unmistakable rough-edge jungle feel.

Together the two tracks showcase Ross’ approach: future-focused jungle rooted in foundation sounds — modern production, classic DNA, and zero filler.

Cloudy Pink / Cloudy Green 2XLP. Before being called “the coolest man in music” (The Line of Best Fit), Paul Castelluzzo was a teenager surfing the beaches of San Diego and playing bars with local jazz greats like Curtis Taylor, until Rodney Jerkins brought him to Los Angeles to perform on tracks for Britney Spears and Justin Bieber. In between driving for Lyft and serving as the music director for a Russian Pentecostal church to make ends meet, he was enlisted for Romeo Santos’ album, Golden, but soon returned home to begin his next chapter as Hether.
Since then, his self-taught guitar style, songwriting talents and profound production palette have led to him working with everyone from Clairo, Dominic Fike, Remi Wolf and The Marías to Paul McCartney, Anderson .Paak, Benny Blanco, Kali Uchis, Kenny Beats, Mac Miller, Rick Ross, Vince Staples and more who continue to discover Hether. Having already amassed millions of streams and hundreds of thousands of fans, landing music in HBO shows and scoring films, Holy Water marks both the culmination of everything Castelluzzo has experienced and accomplished, and an expansive new evolution of a project that has shaped the present and predicted the future, but remains entirely his own.

Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as "pop," they released several EPs and singles before debuting their album, "Mercurial World," in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as "synth-pop."

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed "world-building," is central to their artis

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? With the album SRDNG x LPZG, the duo AMAS, together with double bassist Frithjof-Martin Grabner, delivers a radical answer on May 15th, 2026. The work does not merely translate Bach’s legacy; it consistently reimagines it within the aesthetics of Minimal, Dub-Techno, and Ambient. The creation of this extraordinary abstraction spanned three years and two geographical poles: the raw isolation of Sardinia and the academic precision of Leipzig.

The project found its origin in the seclusion of Pula, at the southernmost tip of Sardinia. There, AMAS extracted and digitally dissected the rhythmic and tonal essence of 14 selected works by Bach. In a temporary local studio, these minimalist sequences fused with field recordings of the surroundings to form a hypnotic framework of electronic structures. Back in Leipzig, this foundation met Frithjof-Martin Grabner. In an intense session held in a hall of the historic HMT Leipzig, spontaneous improvisations emerged that breathe the spirit of Miles Davis’ approach to "Ascenseur pour l’échafaud": free play based on rudimentary sketches, an intuitive reaction to the material—comparable to Davis’ iconic scoring of silent film images. It is a deliberate prioritization of atmosphere over technical perfection. Grabner utilizes the full spectrum of his instrument, creating sounds that, in post-production, often blur the line between analog depth and synthetic texture.

The result is an organic symbiosis: the vastness of Sardinia (SRDNG) meets the intellectual density of Leipzig (LPZG), while the strictness of the Baroque dissolves into the repetitive energy of Minimal Techno. To do justice to this conceptual ambition, the album will be released in an uncompromisingly audiophile edition. Limited to 200 copies worldwide, the double LP is pressed on 180g vinyl and features a front cover with a special 3D effect, continuing the visual tradition of the AMAS series. An album for listeners who understand Bach as a living origin of modern sound art—and for lovers of electronic music seeking a new, organic soul within the repetitive depth of techno.

“Bluegold steps into the world as a ground for trance-inducing rhythm and collective movement. Rooted in techno but never bound to it, the sound leans toward the psychedelic: loops, atmospheres, and ritual percussion that blur perception and guide the floor into altered states.
The A side comes from Mruda, written during a day of turmoil where conflict and chaos spilled directly into sound. Machines were left to chance, generating unstable pulses that mirror the volatility of the moment.

Archypness takes the B side as a counterweight, drawing the energy inward. His productions move with a meditative focus, weaving rich textures and layered rhythms into journeys that feel timeless yet deeply grounded.”

Limited edition, handstamped.

Unlike the main Magic Wand label, the imprint's offshoot 'Special Editions' series is a little more fluid about what it releases, with some EPs sporting original productions - many of which are admittedly sample-heavy - as well as re-edits. That's the case for this second missive from Matsoaka (real name Matt Lundgren). So, while the EP begins with a genuinely gorgeous and Balearic original cut (the dreamy and slow-motion folk-rock of 'Butterflies', featuring the emotive and harmonic vocals of Butterflies), much of the rest falls into the "Balearic re-arrangement" category. In this camp you'll find the immersive, trip-hop style dreaminess of 'Faith', the mid-80s Yellow Magic Orchestra-style Fairlight-sporting electro of 'Gin Yuzu', and the dollar bin brilliance of 'Sheriff' (a take on a Japanese city-pop cover of a reggae favourite).

"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.

The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.

In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.

On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!

It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.

Toddsonic33 lands on Frequencies Rhythm Life with The Love EP, a refined continuation of his journey through punchy drum machines and soulful disco samples, all shaped by his distinctive and forward-thinking production style.
Five expertly crafted tracks, features a special contribution from Code 90 on A1, each rooted in the unmistakable spirit of Chicago house while pushing the sound in fresh, contemporary directions. Packed with groove, warmth, and energy, The Love EP is built for the dancefloor—an essential weapon for DJs and house music lovers alike:

From Wisdom Teeth’s recent compilation nagoyaka na kaze / 和やかな風 (quiet wind)—which cast a spotlight on the Japanese city of Nagoya—emerges “2++”, a new label launched by abentis, who curated the compilation alongside Facta and K-LONE as a central figure in the scene. Conceived as a series introducing facets of Nagoya’s underground electronic music to the world on vinyl, its inaugural release is abentis’ debut album, Dim Grow.

Across the album, intricately designed electronic mallet sounds—created using Ableton Live’s physical-modeling synthesizer—take center stage. Fresh and percussive like marimba or kalimba, yet simultaneously carrying an otherworldly, unreal quality, these tones form the core of the record’s sonic identity. In moments of near-silence, a crystalline resonance poised between glass and metal shimmers with subtle shifts in temperature, giving the album its distinctive texture.

While resonating with the sonic sensibilities of fellow Wisdom Teeth affiliates such as K-LONE, Tristan Arp, and Salamanda, abentis’ uniquely strange palette can be traced back to one of his strongest influences: Haruomi Hosono. In particular, Hosono’s mid-’70s tropical-infused solo albums — Tropical Dandy (1975), Bon Voyage Co. (1976), and Paraiso (1978) — serve as a key reference point. Symbolically reflected in Hosono’s marimba and vocal performance at a 1976 live show in Yokohama Chinatown, the marimba functioned as a central instrument for constructing imagined exotic landscapes inspired by Martin Denny and Hawaiian music.

For abentis—who worked at a local jazz bar before becoming active as a hip-hop beatmaker—the language of “tension chords,” a harmonic vocabulary rooted in jazz and R&B that hovers ambiguously between brightness and darkness, forms a consistent grammar throughout Dim Grow.

Behind the album’s core theme of “mallets + tension chords” lies a broad musical lineage: the harmonic sensibility of Claude Debussy, who anticipated the tensions of jazz; the proto-minimalist spirit of Erik Satie; the marimba-centered structures of Steve Reich; their continuation in Japan through Mkwaju Ensemble (with Midori Takada and production by Joe Hisaishi); and the subsequent branches into post-rock, electronica, and ambient music.

Growing up in Nagoya—an industrial city where creative independence is deeply valued—and being rooted in punk and hip-hop counterculture scenes naturally fostered abentis’ affinity with these predecessors. His practice between genres, combined with an encounter with the highly cross-pollinated musical perspective cultivated around Wisdom Teeth, provided the framework through which his own musical language crystallized. Dim Grow stands as the natural culmination of that journey.

The fifth release from Diggers Society Records is signed by one of the most influential duos in the underground electronic scene of the past 20 years: The Analogue Cops. Lucretio and Marieu deliver a finely crafted, dancefloor-oriented EP, strongly defined by the techno, electro, acid, and house sounds that have become their unmistakable signature. The A-side opens with two full-on techno dancefloor bangers, ‘Fake Black Out’ and ‘Do What You Want’, while the B-side leans more towards house, driven by the hypnotic progression of ‘Milano Gipsy’ and the intense bassline of ‘Chinese Coffee’. The duo’s creativity and brilliance shine through in raw, unconventional solutions that surface in every moment of the EP.

This special edition also includes a 10" limited to 100 hand-numbered copies, featuring two exclusive productions: “Burning Jack” and “Yes Or Not”.

Artwork by @designattitude_graphic

Eco Edizioni debuts in 2025 as an Italian publishing and recording project dedicated to mapping radical sound aesthetics. The label explores the territories of unconventional electronic music, giving space to forgotten productions that outline complex soundscapes through the experience of expert synthesis producers. The first vinyl release embodies this philosophy through a dialogue between different generations of the European industrial and electronic scene. The dark atmospheres of Okиho meet the analytical and methodic techno of Andrew Lagowski, taken from his 1995 album Prismatic.

The album Malnovnova is the culminating synthesis of this synergy, presenting itself as a manifesto of avant-garde sound engineering. The work pushes the Okиho duo’s research towards a totalising and hyper-technical electronic abstraction, where granular signal processing is mitigated by Lagowski’s atmospheric industrial layers.

PARK PLACE With PAUL TILLMAN SMITH

MAGAZINE GIRL b/w SIMPLE LOVE LIFE
IZIPHO SOUL in association with CHUMP CHANGE RECORDS is thrilled to announce an intriguing new 7”.

From the pen and production prowess of Oakland’s unsung hero Paul Tillman Smith, ably assisted by co-producers Nelson Braxton and Levi Seacer Jr. we present the following musical gems:-
‘Magazine Girl’ featuring the striking vocals of Donnie Williams singing a tale of fantasy. Delightfully crafted for this record, ‘The Catwalk Mix’ by Philip Ward.
‘Simple Love Life’ - modern-day soulful boogie of the highest order, featuring the sensual voice of Terrill Carter.
Also included is Paul Tillman Smith’s ‘Country Rap Epilogue’ cut as a separate track to offer both a humorous twist and context to the song.

Dual label design to reflect the theme’s of each side.

Following on from their seminal Light As A Feather LP, Outubro (October) was originally released in 1980 and began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members' performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully colouring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics.

The album hosts a wonderful mix of tempos and styles, from Alex Malheiros' earth-shaking slap-bass on 'Dear Limmertz', which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece 'Un Amigo', while Ivan 'Mamao' Conti's signature swing on 'Maracana' exemplifies the root of Azymuth's 'samba doidoi' (crazy samba) philosophy.

The two cover versions on the album consist of the title track which was originally penned by Milton Nascimento and Chick Corea's '500 Miles High', both of which magically reimagine the originals and further demonstrate the immense virtuosity of this cult recording. This Far Out Recordings release is mixed and mastered from the original tapes and will be released on 180g vinyl and CD.

High-definition world building collides with incisive physical urgency around 170 BPM as Pianeti Sintetici makes his first appearance on Samurai Music. Davide Perrone's vivid production style found a more downtempo outlet on last year's release for Samurai sub label Saibai, but he pivots naturally towards the weightier presence of the Exoverse with a richly rendered suite of sonic systems teeming with life and pockmarked with mystery. The spacious drums that lead on 'Agilus' have an acoustic, in-the-room quality that instantly grounds the track before the myriad layers of synthesis start spiralling skywards, pitting twinkling pads against rapid, undulating acid wielded with assured control. By way of contrast 'Mimoide' burrows downwards, using needlepoint marks to puncture the brooding beds of sound looming in the middle distance. At the same time, Perrone weaves lithe, rubbery shapes across the foreground of the mix for a three-dimensional expression you can almost reach out and touch. Opening up a B side tipped towards a mellower pace, 'Living Plasma' leans into a 4/4 meditation as a vessel for another distinctive tapestry of modulating sound design from Perrone's seemingly infinite sonic resources. 'Exoverse' edges towards a more melodic standpoint with its teased flutters of arpeggio that sneak in and out of the mix and a harmonic dimension to the atmospheric layers that shape out the size of the track. Across all four pieces, the sheer detail at play in the Pianeti Sintetici universe is mind-boggling. By rights it should be a busy, stress-inducing experience, but Perrone's gift lies in the ability to take a macro view on these incredibly complex creations, zooming out by boiling the parts down into a symbiotic whole that feels patient and considered. The reward for the listener comes from taking the time to zoom in and marvel at every micro detail writhing across the surface.

Nina Kraviz launches a new label.

treats is the younger, bratty sister label to trip, specialised in cool music for the dance floor that seems to ignore the idea of genres. To prove this point the first release brings together two tracks that have been roasted in Nina's sets for months and are genre bending.

On the A-side, Brazilian phenomenon and SoundCloud cowboy Joao Lagrima de Ouro teams up with Baile Funk legend MC Pogba. "Pitbull de Glocada" is an excessively naughty heater, with a serious nod to the regional Brazilian electronic music, creating an authentic blend of sounds.

On the B-side, Nina herself teams up with Rio de Janeiro marvel Mc Nick. The two met online, as Nina came across Nick's sensual hit "Mete com forza e com talento" and made her own version of it. Later during a Brazilian tour, the two finally met up on the mythical beach of Mc Nick's hometown where "sem amor" was recorded. Nina's signature minimalist production and approach to vocals pairs idyllically with Mc Nick's fiercely carnal and feminine raps.

treats 001 consists of two tracks with a fluctuating identity, spilling over with risque playfulness that might require parental advisory for some, but it's hard to deny the sheer joy these tracks exude.

King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

Pour Me, My Friend, The Nectar of Dionysus PCM004 is a vibrant four-track exploration of deep tech house, crafted with elegance, groove, and an undeniable sense of joy. Rooted in musicality and designed for the dancefloor, this release blends warm, jazz-tinged elements with modern production finesse, offering a rich and uplifting listening experience from start to finish.

On Side A, A1. Andrey Djackonda – Never Disappear and A2. Deep District – Back Room introduce a welcoming atmosphere built on smooth progressions, refined hi-hat work, and dreamy pad textures. The grooves are fluid and inviting, supported by strong basslines and a playful spirit that sets a positive tone from the very first moments — perfect for drawing people onto the dancefloor with ease and charm.

The B-side raises the intensity. B1. Anirr – Still Trying to Be Perfect and B2. Andrey Djackonda – Refresh shift into a more driving, peak-time energy, where tighter rhythms and increased momentum take control. These tracks carry a confident push, designed for those moments when the room is fully alive and the energy calls for a stronger, more direct connection.

Balancing warmth, groove, and power, PCM004 is a well-rounded and versatile EP — an essential addition for those who appreciate house music in its most expressive, dancefloor-ready form.

Panna Cotta Music is a division of MixCult Records

For the past two years, we have been playing almost every production by Matthew Dekay & Lee Burridge. Now we're very happy to welcome both of them on Innervisions IV38.
"Lost In A Moment" is a track that has given us goosebumps when playing it out in the clubs. A Dixon Mix on the flipside takes a different approach and shows that the summer
season is just around the corner. 2026 Repress on transparent Vinyl!

Los Angeles artist Blone Noble arrives on the label Mystic Transfers with his new EP ''Dominator,” rich with his primordial and perverse essence, hard-hitting modern dance floor production from James Mathew Seven, and surrounded by breathless midnight remixes from Kontravoid and Tony Price

TECH040, titled INTRO, is a functional exploration of electronic music’s most delicate moments. The concept was born from Nastia’s personal experience as a globally touring DJ, identifying a distinct gap in the modern market: a scarcity of sophisticated, atmospheric tracks specifically designed to set the tone during the first minutes of a performance.

This compilation is more than just a collection of tracks; it is a professional toolkit. From deep hypnotism to restrained energy, each contribution has been meticulously selected for its ability to prepare the space and the audience for the journey ahead.

Conceived as a functional extension of the DJ set, the Intro / Outro series explores the moments that frame the dancefloor experience. Focused on beginnings and endings, each release navigates the subtle tension between anticipation and resolution – from the first pulse that opens a space, to the final echoes that dissolve it. Stripped of excess and driven by intent, the series reflects a deeper layer of Techno: not just as a peak-time tool, but as a language of transition, atmosphere and control.

The record, bringing together techno legends and contemporary tastemakers around the art of the "opening set," featuring the long-awaited production debut of the label head herself.

The Parade imprint returns for its seventh outing, keeping the mystery alive with a four-track heater from a nameless contributor. The Neo Piano EP is a masterclass in dancefloor nostalgia, expertly blending the euphoria of the early 90s with modern, punchy production.

On the A-side, "Everyday" sets the tone with soaring chords and a breakbeat foundation that feels both fresh and familiar. It’s followed by "Angelite," a shimmering roller that leans into the lighter side of rave, balancing celestial pads with a driving rhythm section.

Flip the wax for "Somebody 2 Love," a high-energy edit that reconstructs a classic vocal into a peak-time breaks anthem. Closing out the record is "Da sweetest Ting," a bass-heavy, old-school leaning cut that lives up to its name with infectious hooks and a soulful finish.

Pure dancefloor functionalism with a sentimental heart—strictly for the heads.



>>> comes in different marbled colored 12 “ Vinyl and ONLY on Vinyl <<<

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.