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Repress! Back by popular demand–VSR 001 is designed to take you to the outer reaches of where you need to go. Wiersma has created a world where with your eyes closed and head down, the dance-floor can transport you to the outer reaches of space and back again for another beautiful night with all your favorite people.

Vermilion Sun Records was started as a passion project in 2025 with a belief in the magic of physical media juxtaposed against the incursion of AI. The original release featured just 100 copies and utilized US-only distribution; it was sold out in less than 5 months. After being brought across the pond from Boston to Brussels by local DJ & tastemaker Rasaaq, it was subsequently shared, quickly gaining popularity on Discogs. This repress is a testament to Vermilion Sun’s core belief; that is meant to be shared and enjoyed by everyone, and there is magic in that ritual.

Wiersma is a cherished member of the electronic music scene in Boston/Cambridge, MA. A DJ, partygoer, and prolific producer, he has played many of the city’s favorite nights sharing bills with other local talent and setting the stage for international acts like Bradley Zero, Garrett David, and Cinthie. Tapping all of these channels brings forth a creativity where memories from nights in Boston and other global travel transform his unique productions. His release VSR 001 showcases this style, exploring the darker and proggier sides of the house universe while making sure to stay tethered to a reality with firm roots on the dancefloor. A1 begins with Once Around Vega where a cinematic opening draws you into groovy and spacey loops demanding you to move. Syntactic Roles churns more deeply, incorporating layered dystopian vocals, rolling basslines and light acidity that is sure to help you close your eyes and put your head down for a dance. The B side keeps the space station grooving with Transmission from L3, and closes out with Rules of Teleportation incorporating more vocals over chugging electro infused grooves.

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

2026 Repress

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

SHORT INFOS
Because Music celebrates the 50th Anniversary of Cerrone's debut album "Love In C Minor (Cerrone I)" .
A record which is one of the mots important of its time. It brought French Disco to the World and established Cerrone as the French King of Disco.
- Pressed in exclusive 2026 Apple Green Crystal Clear vinyl
- Original 1976 artwork - Digitally remastered from original tapes.

BIOG
Cerrone I
Love in C Minor (1976)
The story behind Cerrone's first album could be summarised in the libertarian atmosphere and the creative energy of the 70s, inherited from the 60s revolutions, spiritual, aesthetic or sexual. Looking back now, this record is one of the most important of its time. It helped creating the sound of an era and brought French disco to the world. It is also, and this is fundamental to understand its success, the result of a man's vision: Marc Cerrone, a free spirit inhabited by music, who ended up with a major work of art. With this album, Cerrone accumulated the main elements that make a record timeless, even bigger than its creator: the pure originality, the madness of a vision without compromise, a sense of the market and a great dose of luck too. To some extent, this is the perfect record to start a career, even though Cerrone's one already existed in an implicit way. He actually began in a rather popular band, Kongas, signed by Barclay. Between 1972 and 1974, the band was famous and made it abroad, particularly in Japan, where people loved its sound. Despite this success, probably fed up with the music and not ready to follow the orders of a label that wanted the band to sound more pop, Cerrone disbanded Kongas. He had the sound of his instrument in mind and mostly its central element: the bass drum. The idea of this first solo album came to him after a detour via selling records. Wishing to forget about the studios, he took the head of a small chain of stores, selling records imported from the States. That's when he discovered a daring new sound coming from New York: disco music. This energy inspired him to record again. He then remembered the crazy reaction of the audience when, during the Kongas' concerts, he used to hit his bass drum hard. Cerrone felt like going back into the studio but to make something different. He decided to record a sixteen minutes long track, driven by its beat, that would fit on its own on one side of a LP (during these vinyl days, musicians used to think in terms of sides…), with girls' voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London (where pop stars used to record at the time… ) with Don Ray, of Kongas, man in the shadows and brilliant arranger who'd follow Cerrone during his whole career. Obviously, like always in pop music (it happened to the Beatles), record companies started by turning this weird track down, convinced that radios would never play sixteen minutes of beats and moaning. Cerrone, a born fighter, decided to trust his instinct (a mix of ego and business sense) and chose to believe that if the radios wouldn't play the track, people would dance to it in the clubs. He released the record himself, with a sexy cover a bit provocative where he wore a black bathrobe, a young short-haired girl leaning on him. Being played here and there, thanks to Cerrone's own network, the record started to work a bit in France. But luckily, things really happened in the States. Due to a mistake, a box of "Love In C Minor" albums were sent to the States via Cerrone's record shop instead of some unsold American LPs. Once in New York, the box was opened and the record with its intriguing cover was instantly loved and passed through the hands of radio and club DJs. All of a sudden, and unknown to its creator, the track that was turned down by every French label, became a hit on the New York disco scene. Casablanca, the US disco label, released a cover recorded by an ad hoc band because nobody knew Cerrone of how to find him. Once he discovered what was happening in the States, Cerrone flew to New York. He realised he had a hit, one of the biggest then, that opened the doors to every record company and especially Atlantic. He was welcome by Ahmet Ertegun, one of the main visionaries of the American music who, among other artists, signed Aretha Franklin and John Coltrane. It's believed that Ertegun understood that the French young musician, like some Atlantic artists, was about to define the sound of his time and that his work would live long after its birth date. "Love In C Minor" was the first step, adamant and successful.

Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.

Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.

Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.

Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.

Praise for Dream Night Dance Music:

"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.

"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.

"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.

Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.

Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.

Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.

Praise for Dream Night Dance Music:

"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.

"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.

"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

London-based Frankfurt export Claus Fuss brings his vibrant creativity to Rant & Rave with the Läuft! EP. Claus’ output includes a whole bunch of solo productions and collaborative projects with OneOneOne and LANDER, as well as co-productions with UK legends such as Zed Bias, Emerald a.o. His analogue-produced cuts have been signed to labels such as Khemia, Crème Organization, Neighbourhood, Heras and Kaizen. With his arrival on Rant & Rave, Claus drops four scintillating examples of rough and ready techno, including a collab with label head MAEDON. The EP kicks off with the title track ‘Läuft!’ (Running! in English), a mesmerising cut with a repetitive vocal snippet that forms part of the main riff. The beats are exquisitely programmed, and Claus keeps that track progressing, shifting and evolving masterfully.

Subtle layers add depth, while the main thrust of ‘Läuft!’ remains potent and captivating throughout. Next up is ‘Schwarze Löcher’ (Black Holes). As the title suggests, this one is dark and deep, sucking you into the sonic void. Elastic kick drums propel this one forward, as a rhythmically peppered, resonance shifting riff rises and falls. Claus gradually ramps up the intensity until we reach a breakdown, where that riff really works its magic. When the drums are reintroduced, it’s a powerful moment. Then we have ‘TopUp’, a lively, upbeat cut with contagious energy. Claus hooks the listener with an irresistible rhythmic structure, the bassline is especially addictive. Fast paced, dynamic drum programming keeps this one moving at a frenetic pace. On the surface it’s deceptively simple, but attentive listeners will pick up on all the details that make this one a compelling listening (and dancing) experience. Finally, we have ‘Zwanzig’ (Twenty), a heady collaboration with Rant & Rave boss MAEDON. This one brings together MAEDON’s earworm melodies and Claus’ penchant for hypnotic grooves. An insistent groove gives this cut a feel of urgency, while a relentless riff and punchy beats aim squarely at mind and body. A masterclass in dance floor engagement and connection.

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Cardinal & Nun is back on L.I.E.S. with a new 12 track double lp "SCARS"

Here we get the French artist in top form going full on heads down darkwave on this record with his song writing taking a new twist. These are catchy gothic almost synth-pop arranged tracks reminiscent of some of Sheffield's and Manchester's finest, and driving enough to move the floor peaktime at the Batcave as well. Head right to the b-side for "It Doesn't Change The World" featuring Andrew Clinco, of Drab Majesty, which is a perfect slice of down trodden bass driven shoegaze with Clinco's signature vocals stamped all over it. The title track "Scars" follows, going right into new wave pop territory as well, extremely catchy and moody vocals scattered throughout. A stunning album that works for the desolate days alone whether the moon is up or the sun is going down...beautiful and powerful.

The vibrant genre Eurodance originated in the late Eighties in Europe and combines many elements of rap and rich melodic vocals with strong bass rhythms and cutting-edge synthesizers. The 2LP Eurodance Collected compiles the best hits from Eurodance, including Snap! ""Rhythm Is A Dancer"", Technotronic's worldwide smash ""Pump Up The Jam"", catchy sing-a-long self-titled Captain Jack track, Dutch group Vengaboys' ""Boom, Boom, Boom, Boom!!, Belgium's hit-wonder 2 Unlimited's ""No Limit"" plus 22 other guaranteed dancefloor fillers. Eurodance Collected is available as a limited edition of 2000 copies on pink (LP1) and purple (LP2) coloured vinyl and includes an insert.

Eurodance Collected by Various Artists, released 19 April 2024, includes the following tracks: "Mc Sar & The Real McCoy - It's On You", "La Bouche - Be My Lover", "Vengaboys - Boom, Boom, Boom, Boom!!", "2 Brothers On The 4th Floor - Dreams (Will Come Alive)" and more.

This version of Eurodance Collected comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a pink disc. Another vinyl is pressed as a purple disc.

DJ Support: Chris Coco, DJ Morpheus, Alexis Le-Tan, DVS1, Afterlife, Ally Tropical, Alex Ruder (KEXP), Andy Wilson, Bill Brewster, Makossa

Dawn Again continues his masterful run on Hell Yeah with a third new album in consecutive years. The Aussie "pubwave" architect this time serves up Pints Of Ambient Nectar, an eight-track collection of new ambient works and remixes of album tracks from 2024's Every Dog's Hotel and 2025's Lost In The Front Bar.

Melbourne producer Nick Verwey has spent the last decade quietly refining a sound that's loose, lived-in, and made for real moments rather than peak-time theatrics. With releases on Houseworx, Enjoyment Division and Hell Yeah, his sun-faded, lo-fi grooves drift between breaks, downtempo and hazy house. His “pubwave” sound is music born from lockdown nostalgia, communal pints and the romance of places where time slows, conversations linger, but the jukebox keeps things moving.

The scene is set with bird calls and saw synth awakenings on 'Backyard Paradiso', 'A Day in the Life of Pond Algae' is a quiet ode to hope and revival, while 'Slow Motion Goal Celebration' smudges chords like rays of sun cooled by a breeze. 'Kneverending Knockoffs' teases acid murmurs amongst floating melodic clouds, and new cut ' A Pub With No Beer' has sugary lines piercing sustained ambient drones. 'Hard Earned Thirst' is mellow magic for horizontal afternoons, 'Hair Of The Dawg' shimmers like heat waves on the horizon and 'Vanilla Sky' is a cathartic drift bathed in soft light, unfolding in slow, weightless waves.

This sun-dazed ambient sidestep from Dawn Again stretches pubwave nostalgia into hazy, unhurried pieces made for slow afternoons where your woes dissolve and your soul warms.

Another long-awaited vinyl shaped through time, pressure, and careful listening. On this record, Spinnski, Ian Oskadev, and CLGR each bring the maximum of their craft, pushing their sound until it holds up under the toughest real-world testing. Airy textures, rolling low-end, sharp rhythmic structure, and hypnotic elements come together into a sound that feels both controlled and alive. Every detail has been checked, adjusted, and refined with precision — not just for the studio, but for real systems. This is a record that translates everywhere, from small rooms to large dancefloors. VAM14 stands as another carefully built piece in the catalogue — balanced, warm, and fully functional. A release shaped with attention, experience, and respect for the sound.


Kashatskikh Studio Mastering
Design & Illustration by Kirill Kashatskikh

2026 Repress

Introducing Fuse Imprint - The New Record Label from Fuse Club, Brussels

Fuse Club, the beating heart of Brussels' techno scene, is thrilled to announce the launch of its new record label, Fuse Imprint. Known for its cutting-edge music and unforgettable nights, Fuse is extending its influence beyond the dancefloor and into the realm of music production. The label aims to be a platform for both emerging and established artists, showcasing the best in techno and electronic music.

The inaugural release is a dancefloor-focused EP by Altinbas, aptly titled "Reshape". As a resident DJ at Fuse Club, Altinbas has been instrumental in shaping the club's sonic landscape. His new EP encapsulates the essence of a Fuse night - intense, immersive, and irresistibly danceable.

Naarm/Melbourne-born, now Berlin-based, Willem shows us the house side of his work. Techno-leaning grooves lay the foundation of the record, while leaving room for textures that drift into the realm where dub techno meets house.

On the B side, we hear the debut release from Naarm/Melbourne-based justjoe. His dreamy, pad-heavy productions round out the release perfectly, riding a line of tech house-inspired drums whilst holding a mood that taps into those deep, inward states.

Art: Liam Richards
Mastering: Morgan Wright

After a longer pause, CMOK returns with a new release built around different shades of dancefloor music that don’t really fit into one strict direction. Four tracks moving through elements of progressive, acid, electro and breakbeat, shaped for different moments and spaces, but still connected by the same feeling underneath.

Dark Entries is proud to host Darlynn’s debut album, Dyke Den. Darlynn is an Oakland-based duo composed of Daria Lourd (aka Bored Lord) and her wife, vocalist Jaelynn Walls. Dyke Den is a lesbian love story about two creative individuals finding each other and themselves through effusive and contemplative sonic avenues. Created in their home over the course of two years, this album speaks to the journey of Daria and Jaelynn’s romantic relationship as well as their evolving combined creative impulses.

On Dyke Den, Darlynn display their influences – from Janet Jackson and Sly & the Family Stone, to Frankie Knuckles and Larry Levan – in a sophisticated, fully realized, and overtly queered fashion. Joyous dancefloor moments are abundant. Tracks like “Make Yr Move” and “Like A Summer” celebrate deep house vibes ala Alleviated Records, while sultry R&B moves are flexed on “Girl 2 Girl” and “Alright With Me.” But longing and yearning exist within this joyous arc, and the question arises: “How can I get you to love me?” More than an idealistic narrative of girl meets they/them, Dyke Den paints a portrait of love in all its multifaceted moments: the bids for commitment, the stagnation of years going by, the wormholes of desire. Yet the album maintains its thesis of hope. The sweet, layered harmonies of closing song “Love Letter” display the power of life partnership: “My whole life is a love letter to you.” Dyke Den features artwork by Hailee Va in a sleeve designed by Eloise Shir-Juen Leigh. Darlynn’s final declaration, “We are all creatures of desire, completely built for love.”s

Excited to share this bomb new release from Scottish techno/house legend Stephen Brown, whose discography reads like a Who's Who of classic techno labels: Transmat Detroit, Djax-UpBeats, Cocoon, Subject Detroit, Theory...

With its instantly recognisable vocal hook, Test 1 is a bona fide, party-starting hand grenade of a tune and destined for track ID requests wherever it drops. Backed by the raw, Chi-town groover Move It (which wouldn't have sounded out-of-place on one of Brown's Djax-up-Beats releases: all off kilter pads, detuned hats and a slamming kick) plus the deeper Tell Him, itself a masterclass in subtlety and groove, this 3-tracker really is quite a package.

All killer: no filler, The Safari EP is essential for fans of proper underground house & techno. Stephen Brown's releases have been falling into the "buy-on-sight" bracket for DJs in the know for many moons now. This release is no different! High quality from Edinburghs finest.

2026 Repress
Hypnoxock, aka Victor Solsona from Barcelona, has been releasing all kinds of psychedelic music for over 15 years now! Since focusing on Goa-trance over the last decade, he has gained significant attention and released a full album on Suntripin 2020. His major breakthrough came with the track "Magma", featured on theAcid/303 compilation Acidum Influxum by Suntrip. For many, this was the track of the year - and we wholeheartedly agree.
On this 12" EP, you'll find that standout track, accompanied by three brand-newones: the full acid stomper "The Fabric of Reality", the uplifting morning anthem "Cascade", and a remix of a classic Underhead track. A 12" on wax featuring different styles from one artist? This feels like the '90s! :) Not many copies available- extra distribution thru the well known Flatlife Records Labelgroup.
Enjoy!

sealable outer sleeve


NOTON is pleased to announce the release of LICHTSTIMME and SCHATTENSTIMME by Alva Noto: two soundtracks for a film that never existed.

The starting point is E. T. A. Hoffmann's The Sandman: a world where perception and reality drift apart, and the question of identity remains unresolved. Recognition, in Hoffmann, is never quite secure. The doppelgänger is less a figure than a condition, the point at which the self can no longer vouch for itself.
The first record, LICHTSTIMME begins in an open, almost weightless sonic world. Something still appears untouched. The music carries a sense of proximity, clarity and trust. But this sense of certainty does not remain. Gradually, the proportions begin to shift. Sounds lose their definitiveness; familiar structures become strange. The music begins to question its own surface. What initially appears as light already contains the possibility of its shadow.
With the second record, SCHATTENSTIMME, the instrument enters the sonic space. The pieces were recorded together with percussionist Rainer Römer and the Ensemble Modern. A central role is given to the Sixxen, the extraordinary metallic percussion instrument originally developed by Iannis Xenakis together with Les Percussions de Strasbourg and instrument maker Robert Hébrard for Pléiades. Its resonances, unusual microtonal structure and distinctive timbre make it an instrument that resists being placed within a familiar musical context. Complete Sixxen sets are extremely rare and require highly specialised construction.
The instrument appears only on the second record. Its absence from LICHTSTIMME and its arrival on SCHATTENSTIMME are structural. It behaves like a shadow: present only when something else has already changed. With its appearance, it is not only the sound that changes. The entire musical space seems to shift its character. The Sixxen's metallic sound becomes the unfamiliar. The unfamiliar becomes a counterpart.
The two records follow an inner movement: from light to shadow, from trust to doubt, from identity to doppelgänger, and back to a harmony that is no longer quite the same. What emerges as an independent, personal sonic language has been transformed by the journey. The unfamiliar has not disappeared. It has become part of the self.
LICHTSTIMME and SCHATTENSTIMME are records about the instability of the familiar. Something is always almost recognisable and never quite confirmed, in the story, and in the sound.
Album art designed by Carsten Nicolai & Nibo.

NOTON is pleased to announce the release of LICHTSTIMME and SCHATTENSTIMME by Alva Noto: two soundtracks for a film that never existed.

The starting point is E. T. A. Hoffmann's The Sandman: a world where perception and reality drift apart, and the question of identity remains unresolved. Recognition, in Hoffmann, is never quite secure. The doppelgänger is less a figure than a condition, the point at which the self can no longer vouch for itself.
The first record, LICHTSTIMME begins in an open, almost weightless sonic world. Something still appears untouched. The music carries a sense of proximity, clarity and trust. But this sense of certainty does not remain. Gradually, the proportions begin to shift. Sounds lose their definitiveness; familiar structures become strange. The music begins to question its own surface. What initially appears as light already contains the possibility of its shadow.
With the second record, SCHATTENSTIMME, the instrument enters the sonic space. The pieces were recorded together with percussionist Rainer Römer and the Ensemble Modern. A central role is given to the Sixxen, the extraordinary metallic percussion instrument originally developed by Iannis Xenakis together with Les Percussions de Strasbourg and instrument maker Robert Hébrard for Pléiades. Its resonances, unusual microtonal structure and distinctive timbre make it an instrument that resists being placed within a familiar musical context. Complete Sixxen sets are extremely rare and require highly specialised construction.
The instrument appears only on the second record. Its absence from LICHTSTIMME and its arrival on SCHATTENSTIMME are structural. It behaves like a shadow: present only when something else has already changed. With its appearance, it is not only the sound that changes. The entire musical space seems to shift its character. The Sixxen's metallic sound becomes the unfamiliar. The unfamiliar becomes a counterpart.
The two records follow an inner movement: from light to shadow, from trust to doubt, from identity to doppelgänger, and back to a harmony that is no longer quite the same. What emerges as an independent, personal sonic language has been transformed by the journey. The unfamiliar has not disappeared. It has become part of the self.
LICHTSTIMME and SCHATTENSTIMME are records about the instability of the familiar. Something is always almost recognisable and never quite confirmed, in the story, and in the sound.
Album art designed by Carsten Nicolai & Nibo.

Victoryland is the Brooklyn-based project of musician Julian McCamman and Dan Howard.. Their 2026 album, My Heart Is A Room With No Cameras In It, is a triumphant, despondent, and ultimately fun experimental pop-rock album. A year on, the record receives the deluxe treatment from new label home Dead Oceans. My Heart Is A Room With No Cameras In It (Deluxe) arrives December


11th 2026, on exclusive crystal clear vinyl, complete with new song “The Ugliest Girl On The Beach” and a new music video for album standout “I got god.” The sound of the album, recorded between Julian’s Bed-Stuy basement and Dan’s Williamsburg studio, is that of a bright and beaming collaboration. Blending lo-fi and hi-fi production, the songs have the glossiness of a radio-friendly hit mixed with the distortion and rough edges of a home demo. Every song keeps at least one element of the initial recording, while building around the loops and half-songs Julian scraped together. The lyrics on the record span from humorous self-aware popisms (“‘you and I’ will soon be, used to be ‘us’”) to crushing realities of bitterness (“i’ll never forgive you, that’s how I keep you close”) and abstract imagery (“mothers wave from doorways, in ostinato”), all delivered with such an immediacy and fervor that in the middle of singing along, you wonder if this guy slept much last night. Much to their surprise, My Heart’s release ushered Victoryland into a whirlwind of a year. Pitchfork praised the album’s “bright, madcap approach reminiscent of the New Pornographers’ Twin Cinema or Clap Your Hands Say Yeah’s Some Loud Thunder.” Stereogum named it their Album of the Week and proclaimed it “a surprisingly cohesive scrapbook of sounds from seemingly every corner of the indie pop umbrella.” The album also received support from Steve Lamacq at BBC 6 Music and Sian Eleri at Radio 1. After a string of sold-out shows in NYC, Victoryland later joined LCD Soundsystem on their North American tour and performed at Pitchfork London, Pitchfork Paris, among other festivals across Europe

12"

MONSKI´S SOUND FEELS LIKE A 90s SKATEVIDEO ON VHS - ELECTRONIC, WARM AND LOVINGLY HANDMADE. IMPERFECTIONS WELCOME.
THE MAIN INSTRUMENTS DOUBLE BASS, GUITARS AND ANALOG SYNTHS MELT WITH INTENSE ELECTRONIC RHYTHMS TO DEEP AND HYPNOTIC GROOVES - INSTRUMENTAL AND MOSTLY DOWNTEMPO.
MONSKI EARNS HIS MUSIC GEAR BY SHOOTING FILMS - NO WONDER HIS SOUND IS OFTEN DESCRIBED AS CINEMATIC. INSPIRED BY VISUALS - ESPECIALLY BY CAPTURED PERSONAL MOMENTS WHICH OFTEN TURN INTO HIS RELEASES´ ARTWORK. IT´S HARD TO PUT THIS EP INTO A BOX - ITS UNIQUE STYLE HOVERS SOMEWHERE BETWEEN ORGANIC DOWNTEMPO, TRIP HOP, FOLKTRONICA AND HOUSE.

ENDUROS - 6 TRACKS OF MONSKI´S RAW SIGNATURE SOUND:

ROLLER: THE MOODY DRAGGING TRIP HOP GROOVE (88 BPM) STARTS DEEP AND REDUCED BUT RESOLVES INTO A WIDER CINEMATIC HARMONY OF SYNTHS AND STRINGS.

ENDUROS: EVOLVING FROM ELEMENTS OF ROLLER, IT SPEEDS UP TO 120 BPM AND ENTERS THE REALMS OF ORGANIC HOUSE / FOLKTRONICA. AN UNPOLISHED HANDMADE BEAT WITH DRIVING BASS AND GUITAR RIFFS, CULMINATING IN A MELODIC CLIMAX.
FUNZEL: ORGANIC DOWNTEMPO ELECTRONICA (100 BPM). WARM AND SOFT SYNTH CHORDS AND A SAX SAMPLE ADD A JAZZY FEEL TO THE RHYTHMIC FOUNDATION OF DOUBLE BASS, GUITARS AND PERCUSSION.
ADDITIONALLY THE EP ROUNDS UP THE ALREADY RELEASED TRACKS: RADIO BEAMER, ELECTRIC BOX, AND QUARTZ.

Outer Place Records proudly presents its seventh vinyl release: Jungle EP by Kamyar Keramati with included a remix from Domenico Rosa . A sonic expedition through intricate rhythms and emotive textures, this EP marks a significant chapter in our label's journey. Berlin-based Iranian producer Kamyar Keramati delivers a compelling four-track EP that traverses the realms of techno, breakbeat, and ambient soundscapes.

A1. "Jungles"
An immersive opener that sets the tone with layered percussions and atmospheric depth, inviting listeners into a dense sonic forest.

A2. "Sakhiff"
A rhythmic journey blending intricate beats with subtle melodies, showcasing Keramati's prowess in crafting dynamic electronic narratives.

B1. "One For All"
A unifying track that melds diverse sonic elements into a cohesive whole, reflecting the EP's complete theme of interconnectedness.

B2. "Jungle (Domenico Rosa Remix)"
Italian producer Domenico Rosa reinterprets the title track, infusing it with his signature minimalistic but techno flair, adding a fresh perspective to the original composition.

Each track demonstrates Keramati's ability to weave complex rhythms with emotive undertones, creating an EP that resonates on both the dancefloor and in introspective settings. Visual Identity by Henrik Delehag Complementing the auditory experience, the EP features cover art by Swedish artist Henrik Delehag . Known for his distinctive black-and-white iconography, Delehag's work explores the interplay between chaos and harmony. His art distills complex realities into symbolic forms, providing a visual narrative that mirrors the EP's sonic journey.

This collaboration marks the beginning of an ongoing partnership, with Delehag set to design all future vinyl covers for Outer Place Records. His unique artistic vision aligns seamlessly with our label's vision, enhancing the holistic experience of our releases.

Jungle EP is more than a collection of tracks; it's a curated experience that fuses sound and visual art.

Available soon on vinyl and digital platforms.

Named after the tendency to impose familiar likenesses, such as faces, on random - usually inanimate - objects, Pareidolia is Jake Muir's way of interpreting the consonances between so-called “ambient” music and extreme heavy metal. Extracting the headiest, most atmospheric sections from hundreds of death metal and black metal tracks, Muir plays the role of both DJ and electroacoustic composer, concocting a lysergic elixir of fractal distortions and prolonged, decelerated riffs that slowly evaporates into iridescent vapor. If there's any trace of the original sources left, Muir makes sure that residue is subtly bewildering, like clouds in the sky that form imposing, larger than life images, or trampled bracken that falls into the shape of “trve kvlt” insignia.

The idea for the album materialized when Muir was working on 2022's Talisman, his collaborative album with multi-instrumentalist Evan Caminiti. Processing guitar for the first time, Muir began to unpack his long relationship with rock music and its Escher-like maze of sub-genres, from the tech metal he obsessed over as a teenager to Loop and Main's drone-y, textured variants. Scraping the internet for unconventional contemporary metal albums, he stumbled across music that seemed to hover between different realms, merging its frenetic, noisy sections with psychedelic interludes that harmonize with classic industrial and avant-garde music, material like :zoviet*france:, Nocturnal Emissions and Z'EV.

Some records never really disappear. They wait for the right moment to be rediscovered.

Originally created in 1981 by legendary Italian composer and keyboardist Claudio Simonetti alongside producer Giancarlo Meo, Kasso emerged at a pivotal moment when disco, jazz-funk and electronic music were beginning to collide, and a distinctly Italian dance sound was taking shape.

Built around Simonetti’s unmistakable piano and keyboard work, Kasso developed a significant following across Europe, particularly in France and Italy. The project would produce cult favourites including “Kasso”, “Key West”, “One More Round” and “Walkman”, the latter becoming a major French success, reportedly selling around 500,000 copies.

Kasso’s influence travelled considerably further. Finding its way into the underground clubs of New York and Chicago, with original material receiving the remix and edit treatment from John “Jellybean” Benitez and, later, house music pioneer Frankie Knuckles.

Behind it all is Claudio Simonetti, a musician whose extraordinary career stretches from European disco to some of cinema’s most iconic soundtracks as keyboardist and composer with Goblin, including Deep Red, Suspiria and Dawn of the Dead. Now, more than four decades later, Claudio Simonetti’s Kasso returns.

Unlocking key elements from the original production, including Simonetti’s distinctive piano, the music has been placed in the hands of another European dance music pioneer: Ben Liebrand.

A hugely influential DJ, producer and remixer, Liebrand’s groundbreaking In The Mix radio shows and legendary Grandmix series have helped shape European DJ culture, while his extensive remix catalogue stretches across artists including Bill Withers, Phil Collins, Sting, Salt-N-Pepa and countless others.

His new interpretations of Kasso respect the musicianship and unmistakable character of Simonetti’s original while giving it a fresh, contemporary dancefloor life.

And this is only the beginning.

Kasso launches a series of four new singles, culminating in Kassologie, a definitive collection bringing together the essential Claudio Simonetti recordings alongside new remixes and updates. And all vinyl will be released in a colored-vinyl edition also!

Over forty years after it first emerged from Italy’s extraordinary early-’80s dance scene, Kasso is ready for another round.

2026 Repress, Black Vinyl, Unicover
Johannes Albert brings back the iconic anthem that is "More Action Pleeease!". This time stretched across a full A-side, cut at 45 rpm for maximum punch and pressed on a weighty 180 grams. Built sturdy, loud, and ready to tear through any system. The full-cover artwork seals the deal, but the B-side brings the real twist: the Disco-House edit everyone's been craving (yes, exclusively on vinyl!). Dompe's "Lemon Ice" gets the full "Action" vocal treatment, transforming it into a guaranteed dancefloor riot. Finally - the complete "Actionpella" is attached for the hard-working DJs and the lazy ones alike. Now? More Action Pleeeeeeeeeeease!

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura

Impressive Collective, BBE Music and Mark de Clive-Lowe present: Remixes & Reimaginations World-renowned for decades, Mark de Clive-Lowe is a New Zealand-born, Tokyo-based pianist, composer and producer, widely recognised as a pioneer in nu-jazz, broken beat and electronic music. In contrast to his previous release on Impressive Collective, the contemplative solo project 'past present (tone poems across time)', this collection brings together MdCL’s extraordinary reinterpretations of other artists’ work. As he explains: “Remixing has always meant more to me than just rearranging stems - it’s about uncovering a new reality inside the music.” From the uplifting gospel-house of Close Counters’ 'I’ll Be There For You', recontextualised for the broken beat dancefloor, to the timelessly angelic tones of We Are KING’s ‘Supernatural'; from Omar’s 'This Is Not A Love Song' reimagined almost 30 years later, to the politically charged intensity of Anthony Joseph’s 'Maka Dimweh' - every remix has been crafted with the progressive dancefloor in mind, while still resonating for the deep listener and always in service to the original artist’s essence. “I’m grateful to every artist who’s invited me to dive into their work - to deconstruct it and reimagine it with love, curiosity and respect. This compilation isn’t just a retrospective, it’s a celebration of the remix as an art form.”

SOLAH steps back onto the scene with her second studio album Forever, set for release on 5th June 2026.

Primarily recognised for her soulful melodies, unmistakable voice and down-to-earth artist persona, Forever holds steady onto these qualities, yet finds freedom in straying from expectations. Atmospheric and all-encompassing, the album's list of collaborators spans beyond the UK to the Netherlands, Tokyo, Sao Paulo and beyond - a reminder of drum & bass' global collective identity, and testament to the musical connections and friends in the industry that she has made over the years, since her first album King. 2x12" Gatefold Vinyl - SOLAH's Forever LP is available on sleek double vinyl packaged in a gatefold sleeve, featuring full album tracklist, lyrics and bespoke imagery.

This has been a very personal project and a mammoth undertaking for us folks here PACE HQ: 12 tracks unearthed from the cult Scottish figure’s completely overlooked back catalogue. Collected archive material from the past 25 years, originally composed as an OST for the feature length film The Flesher (1992) which was also written, shot and directed by Rae. No copies remain. Deep cuts that span G-funk, hip-hop, house, synth-pop, electro, dub, downtempo, funk/soul, R’n’B with appearances from Rae’s heavyweight list of frequent collaborators… Bernie Worrell, Adrian Sherwood and Jimmy Douglass.

"In 1991, the Scottish Rugby Union & the Royal Bank of Scotland, commissioned me tae make the world's first Scotland World Cup music video... they didn’t pay me so I fought back. It took 18 years tae win, and I nearly lost everything. I turned to audio visual art: under the pseudonym Jock Pleasure - I wrote and directed a feature length film called The Flesher as well as creating 100s of full length DVDs and tracks” (Jesse Rae).

One man took on the banks and won, but it took its toll and in this totemic corpus of work Jesse Rae counts the cost. The Flesher is art as pure defiance: “this stuff is very dark and deep, it is such a vast body o’ work, but when I won my battle against the bank, I secretly returned tae Hodge Close (in the Scottish borders) and dropped the entire work sealed in stone intae the deep deep murky depths of that water, where it has remained since 2009. There are no mair copies."

What we have here then is the salvaged remains. A hopeful dunt of Scottish erotica that gets you right in the pits.

Splice DJ Screw with Dean Blunt, Moodymann, Prince, Cocteau Twins, MF DOOM, Luther Van fuckin’ Dross, Barry fuckin’ White; run that through the B-movie videotape static meets Harmony Korine, Les Blank & early Grand Theft Auto. Empty boulevards. Small-town strip joints. Late-night dial-up. Sacrifice and solace. Outside of the OST, there’s a cast of forgotten characters: primary school kids making house jams, teenage popstars from the Scottish Borders, and the rhapsodic Ayrshire soprano NIKA laying down haunting vocals in Miami.

Celebrated as a cult figure in the USA, Jesse’s work has never fully had the appreciation it deserves at home. Not really. Aye, we know Inside Out and The Thistle. But he’s too easily fobbed off as an eccentric outsider: a helmet-wearing, claymore-wielding gimmick. But do we really know the extent of what this man has done - and gone through - for the sake of art?

A legend returns as the alias of scene stalwart DJ Levi and Curvature co-creator Ghosts of MIDI unleashes an EP of seismic tracks backed with remixes from ASC and Aural Imbalance. A1 - Iron Dinosaurs Opening a fine Curvature debut for the label’s very own Dan Azimuth, Iron Dinosaurs is an epic piece of atmospheric goodness introduced with a long, elegant intro of synths and luscious female vocals. Before long, classy, energetic metallic breaks kick in, set to an immensely memorable key melody and a room-filling bassline, creating a breathtakingly fluid and captivating piece. A2 - Iron Dinosaurs (ASC remix) Taking an incredibly evocative track and lacing it with sprinkles of ASC goodness to create a true gem is the order of the day here, as the heart of the original courses through an ominous intro, quickly beset by fine analogue amens that hit hard for the dancefloor, while allowing the soul of the piece to breathe, syncing in harmony with the distinctive vocal samples and swirling synthwork that colour the atmosphere so perfectly. B1 - Deadly Dimensions A DJ-friendly intro of hi hats gradually ushers in epic, bassy melodies gliding through serene vocals and airy pads, before the drop reveals exquisite breaks with just the slightest hint of an apache in there. Very danceable, the breaks are chopped and diced at will, driving a determined pace for another superbly epic, ethereal piece of atmospheric drum & bass from one of the OG’s of the scene. B2 - Deadly Dimensions (Aural Imbalance remix) The EP closes with a real treat - this is as close as an example you’ll hear to a match made in heaven as the eerily epic production of Ghosts of Midi collides with the inimitable ambient mastery of Aural Imbalance. Intersecting the thoughtful vibes of the original, this remix sees playful old school breaks jostle with swathes of fluid synthwork and delicate pads, creating a unified expression of atmospheric purity.

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends.

On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system--lots of detail and atmosphere to sink into.

“Middlemarch” is moody deep techno-- a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elasticchords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.

Edition of 300 vinyl copies includes special full- color insert
Mastered by Dietrich Schoenemann

About Solenoid
Solenoid is the primary musical vehicle of David Chandler, a lifer underground producer, musician, and visual artist. As a lone electronic voice in the wilderness of early-90s Portland (which was at the time a grunge-saturated third backwater) he started out releasing adventurous, now- unobtainium tapes on his DIY Pharmacy label. Solenoid then became known internationally at the turn of the millennium as one of Portland’s persistent ambassadors for underground crossover electro and techno, releasing on labels like Outward Music Company, Emanate, Orac, and many others (most recently, on the Paris label Partout). He’s a real legend honestly--doggedly clocking in almost 40 years of uncompromising experimentalism with a signature sound and vision running all the way through.
-- Paul Dickow (Strategy)

60 artists from 9 countries gathered in Armenia for the first edition of Notations Laboratory: a two-week interdisciplinary platform initiated and curated by hosq Foundation, bringing together musicians, sound artists, composers, and visual artists to collaboratively explore new artistic forms. Using Avet Terterian’s Symphony No. 3 as a conceptual and sonic point of departure, the participants created 11 original compositions during the laboratory through collective experimentation, improvisation, electroacoustic composition, and cross-disciplinary exchange. Rather than a fixed-genre compilation, the record captures the energy of a temporary artistic ecosystem formed in real time through shared process and collective creation, moving between ambient, drone, contemporary electronic music, experimental folk, and electroacoustic sonic practices. Recorded and produced during Notations Laboratory 2025 at the State Philharmonia of Armenia.

2026 Repress
The Greek artist comes back with a fully realized EP this time, that goes deeper into his personal world. This is not pointless or flashy music. It has soul and character.

It is music that you can listen the personality of the artist beneath the layers and sound design.
Another strong statement from a producer who is quietly building his own language.

Here comes the next revelation in our ongoing journey of uncovering true artistry, with KAIR stepping again into the spotlight for his debut EP on Real Talks Records. After touching our hearts with his appearance on our first VA, it became clear that his sound and his message deserved a deeper exploration. The result is the Salsa! EP, a stunning reflection of his talent.

We couldn’t be more thrilled with this release. KAIR has been consistently recognized for his highly creative music productions, brimming with his colorful personality, endless groove, and heart. This follows a stream of successful releases on 5511, K7 Records, Banana Gold, Miura Records, theBasement Discos, Real Talks Records, and more.

The first three songs on the EP deliver some serious heat, setting their sights straight for the dancefloor. With well-structured drum rhythms that move the body and stir the soul, crafted with love and dedication, he delivers a succinct slice of tech-housey goodness that keeps it tight throughout.

While these 3 bangers won't fail to make you dance and feel good, the B-side holds a hidden gem. Closing out the release, “GTA” embodies an entirely different energy, delivering emotional vibes that keep things slick and grooving all the while.

The Salsa! EP captures the essence of what we stand for at Real Talks Records: music with intention, depth, and soul. It’s an EP built not just for the dance floor, but for meaningful moments.

Enjoy. This Is Real Talks Records.

Younger Brother Live, with Shpongle and The Orb at Troxy, London 9th May

Twisted Records is thrilled to announce the release of the long-awaited fourth album by Younger Brother: Mutually Assured Distraction.
The first full-length release by the fabled electronica project in a decade features nine sumptuous tracks that each embody the project’s intoxicating fusion of profoundly human sonorities and etheric electronic soundscapes.

The title is a subversive reframing of the Cold War doctrine “Mutually Assured Destruction,” pointing to a world currently frozen not by the geopolitical threat of a Nuclear Winter but by a Digital Summer of mindless overstimulation. Mutually Assured Distraction is a sonic salve for the pervasive numbness induced by an emotionally disconnective artificiality that seeks to pacify with counterfeit happiness; the album offers an antidote to mundane superficiality with nine musical masterpieces that convey the depth of human experience and authentic creative expression.

The progression of track titles symbolically represents the arc of this soulful journey through an evocative auditory landscape of moods, harmonies, and textures, progressing from the haunting opening “I Belong to Nowhere” to the penultimate “Home In This World” before arriving at the concluding “Endless Drift.”

The synthesised musical mastery of renegade musicians Simon Posford and Benji Vaughan is complemented by the contributions of some supremely skilful musicians, with beguiling vocals by MiraBelle Rose and Jay Marsh and the rich cello of Rena Jones. With poignant lyrics that speak to the universal human condition in a world where voices are amplified yet so many feel unheard,
Mutually Assured Distraction provides, through its fusion of electronic and real-world music- making, an example of how technology can pair harmoniously with our humanity - an energetic homecoming as the music draws us away from the unconscious scroll into an open field where we can embody our essential nature.

The album stands as both a reflection of our times and a timeless reminder that beneath the noise, a deeper presence continually exists, waiting to be felt, heard, and expressed.

Tyler, The Creator made a deliberate swerve away from the dense, personal Chromakopia with 2025's Don't Tap The Glass, which much more chases brevity and fun over concept. Across a brisk 28 minutes, he leans into rough-edged, danceable grooves that recall the rowdier Cherry Bomb era, from the House of Pain-esque opener to the Off The Wall-style disco bliss of 'Ring Ring Ring' and the r&b 'Sucka Free,' which could well be his catchiest vocal turn since IGOR. Despite Tyler's insistence there's no deep concept here, the tracks flow together with real cohesion across a playful but tightly sequenced ride.

Younger Brother Live, with Shpongle and The Orb at Troxy, London 9th May

Twisted Records is thrilled to announce the release of the long-awaited fourth album by Younger Brother: Mutually Assured Distraction.
The first full-length release by the fabled electronica project in a decade features nine sumptuous tracks that each embody the project’s intoxicating fusion of profoundly human sonorities and etheric electronic soundscapes.

The title is a subversive reframing of the Cold War doctrine “Mutually Assured Destruction,” pointing to a world currently frozen not by the geopolitical threat of a Nuclear Winter but by a Digital Summer of mindless overstimulation. Mutually Assured Distraction is a sonic salve for the pervasive numbness induced by an emotionally disconnective artificiality that seeks to pacify with counterfeit happiness; the album offers an antidote to mundane superficiality with nine musical masterpieces that convey the depth of human experience and authentic creative expression.

The progression of track titles symbolically represents the arc of this soulful journey through an evocative auditory landscape of moods, harmonies, and textures, progressing from the haunting opening “I Belong to Nowhere” to the penultimate “Home In This World” before arriving at the concluding “Endless Drift.”

The synthesised musical mastery of renegade musicians Simon Posford and Benji Vaughan is complemented by the contributions of some supremely skilful musicians, with beguiling vocals by MiraBelle Rose and Jay Marsh and the rich cello of Rena Jones. With poignant lyrics that speak to the universal human condition in a world where voices are amplified yet so many feel unheard,
Mutually Assured Distraction provides, through its fusion of electronic and real-world music- making, an example of how technology can pair harmoniously with our humanity - an energetic homecoming as the music draws us away from the unconscious scroll into an open field where we can embody our essential nature.

The album stands as both a reflection of our times and a timeless reminder that beneath the noise, a deeper presence continually exists, waiting to be felt, heard, and expressed.

Following the massive, multi-platinum success of the global hit "A Bar Song (Tipsy)" and his breakout contributions to Beyoncé’s COWBOY CARTER, Shaboozey returns with his most ambitious work to date: the new concept album, The Outlaw Cherie Lee & Other Western Tales. Building on the genre-bending foundation of Where I've Been, Isn't Where I'm Going, this project cements Shaboozey’s status as a pioneer of New Americana through a cinematic outlaw revenge story with a tragic love at its center.

The narrative follows Cherie Lee, who, after witnessing her sheriff father’s murder by the Bootcut Boys, abandons the badge to hunt the gang down one by one. In the heat of her vengeance, she falls for an outlaw—not the killer, but a man guilty by association. While he seeks redemption through her love and she seeks a cure for her darkness, both find that violence is not so easily escaped. When her lover kills the real murderer in her name, he proves that bloodlust doesn’t end; it only evolves. In a devastating final act, Cherie chooses her vendetta over her heart, killing the man who loves her most and fully becoming the very monster she set out to destroy. Gritty, soulful, and narratively daring, The Outlaw Cherie Lee is a bold evolution from one of music's most dominant current forces.

The album from an association of Ukrainian artists called Noneside brought musicians and painters together under the famous words of the writer Lina Kostenko "Sometimes I'm Blinded By Beauty..".

The painting by contemporary figurative artist Danik Manzhos “Decadence/Zaruba” frames the prog, trance housy music of such performers as Saturated Color (Neptune Discs, Nerang Recordings), with a real acid test for you, JJ Fortune’s (Late Night Superglue, BOOOoo! Rizzwax) LSD trip remix on Lostlojic’s tune, Brooht (Mr.Banger, Silias Records) with summer electro fairy-tale, and Slava Los backs with his timeless work “M-14”.

Mastered by Taras Bril, also awesome typefaces of Ivan Tsanko-Khlibovich used in design as always.

First of all, this is the music of love and unity, wherever you are - at home dancing in the kitchen or on the big festival floor - common feelings will unite and spin you in a crazy rhythm, will make you understand that we are not strangers to each other. Together we dance for a better future!

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

"Some of my earliest musical memories were listening to my local pirate stations in the early 90's. The signal was quite weak in my area, and the sound was doused in FM static, creating this interesting amalgam of rhythm and noise. I found a strange sort of comfort in this, often falling asleep while listening to the radio, in bed, with my headphones on. The stations were run by young people, no older than kids really, relayed from non-descript flats, scattered around Bradford, Leeds, and the surrounding towns of West Yorkshire. The setups were primitive, and the production quality (and often the mixing) were dubious at best. But there was an endless supply of passion, and listeners tuned in because they were thirsty for something the legal stations could never supply. These voices on the other side of the transmission were, for many of us, a bridge into the future. One, which sadly, never really came to be. Hardcore, Static: Pirate Transmissions From The North of England 1990-1994 is a celebration of this unique period in UK history. The North of England feels overlooked during this time, with history's focus firmly gazed on London. But the signal was everywhere. These pirate stations were crucial for many young people, who were trying to find their place and identity in the UK. Many of these transmissions, even the ones which were recorded onto tape, have since become lost media, effectively erased from history. Radio, at least in the analogue domain, isn't something most young people have any experience with. Pirate radio was this unique flashpoint in time, and for me at least, it was important enough for me to want pay my respects to it" Dennis/36

Two years after Return of the Boom Bap, KRS-One returned with his self-titled second solo album and again enlisted the beat-making excellence of DJ Premier as well as Showbiz, Diamond D and others behind the boards. Lead single 'MC's Act Like They Don't Know' is a stone cold classic that still gets heavy rotation and exemplifies One's lyrical heft. It is backed up by gems like 'Represent The Real Hip-Hop' featuring Das EFX, while Premier strikes again on the state-of-hip-hop anthem 'Rappers R. N. Dainja,' and 'De Automatic' delivers straight boom bap alongside Fat Joe. Political and social commentary runs deep on 'R.E.A.L.I.TY.' and 'Free Mumia' with Channel Live, while 'Wannabemceez' with Mad Lion keeps the sucker-MC disses coming.

Synaptic Cliffs proudly welcomes Annie Hall for her label debut. With the Future Sports EP, she once again expands the boundaries between machine funk, speculative sound design, and forward-thinking club music. Delivering her signature fusion of IDM, electro, fractured breakbeats and experimental electronics, she sculpts a metallic, high-definition vision that feels as though it has been transmitted directly from centuries ahead.

Future Sports imagines the sonic landscape of sport in the year 3024. In a future where society has paradoxically stripped itself back to the essentials, aesthetics have returned to the elegance and restraint of the 18th and 19th centuries. Amid this cultural shift, fencing has emerged as the defining global sport, elevated from historical discipline to mass obsession.

Throughout the EP, the sounds of these future arenas become musical raw material: the sharp clash of advanced foils, the resonant impact of engineered protective gear, the tension of ritualized competition, and fragments of other, unnamed sports from a distant age. Annie Hall transforms these imagined athletic acoustics into intricate rhythmic structures and futuristic melodies, allowing the machinery and choreography of competition to shape the record's sonic identity.

The result is a vivid soundtrack to a world yet to come - precise, kinetic, and unmistakably futuristic, where sport, technology and sound merge into a singular vision. Future Sports is both a speculative narrative and a club-ready statement from one of electronic music's most distinctive voices.

As a special bonus, the EP features an animated picture label. When played at 45 RPM and viewed under a stroboscopic light operating at 9 Hz, the artwork comes alive, revealing a hidden motion sequence. Blurring the boundaries between sound, design and optical illusion, this kinetic visual layer extends the EP's futuristic narrative into the physical realm, transforming the record itself into an artifact from the year 3024.

Brighter Discs opens with its first release from label founders Kamma & Masalo. Born out of Brighter Days, the duo’s long running party series since 2014. A colourful get together where generations mix freely, DJ legends share space with new voices, and the dancefloor is treated as common ground. Brighter Discs carries this same spirit into recorded form, a natural continuation following the Brighter Days compilation previously released on Rush Hour.

Brighter Discs starts things off with ‘Can’t Fake The Feeling’, built around the original vocal by Renee Mohannon, taken from the 1989 release produced by house music pioneer Joe Smooth. The vocal is fully cleared and officially licensed, with everything surrounding it newly written and produced, resulting in a club track that honours the emotional core of the original vocal while giving it new space to shine.

The ‘Club Mix’ unfolds with immediate lift, a classic yet upfront house energy carried by Kamma & Masalo’s elevating instrumentation moving in lockstep with Renee Mohannon’s vocal. A pure club track celebrating dance music to the fullest.

On the flip you will find K&M’s ‘Unity Dub’, a darker, percussion driven workout that strips things back and presents the track in a different light. A twilight version that highlights the duo’s versatility and deep dancefloor understanding.

Kamma & Masalo have tested both cuts extensively while touring, from sun soaked festival stages to esoteric club spaces. Each version has been shaped in real rooms and refined on the road, ensuring the tracks are heard in their best possible form.

All produced with care and free-spirited party energy, Brighter Discs 001 marks the beginning!

‘Signs Of The Time’ is a powerful, driving roots reggae anthem by Azizzi Romeo calling for global unity. The track features the legendary Max Romeo in what would be his final recording before his passing.

The track is fuelled by the lush, authentic arrangements of Denmark's premier 11- piece roots collective, Guiding Star Orchestra.

Blending heavy traditional rhythms with a modern conscious edge, the track boasts dynamic brass lines and an irresistible groove. Essential for modern roots, cultural reggae, and global conscious playlists celebrating the enduring legacy of a reggae icon.

The release comes with a dub version by Tippy I-Grade who weaves heavy, foundational basslines through echoed horn stabs and beautifully fragmented vocal chops that ripple seamlessly across the stereo field.

It’s an essential addition for listeners who crave the meditative depth of classic 70s dub reimagined through a modern, high-fidelity lens.

‘The Sci-Fi Era’ marks the launch of Utopiality, the new forward-looking project from Berlin-based DJ and producer Rickie. A space where rhythm and texture converge into immersive, ever evolving forms.

On the A-side, ‘Galactica Expedition’ cuts through with aggressive basslines layered against
delicate pads, setting things in motion. ‘Imagination’ follows, diving deeper into unknown realms with a mind-bending, exploratory energy.
The B-side expands the narrative: ‘Stellar’ pairs intricate drum programming with constantly
shifting synths and basslines, while the closing track ‘Destination’ locks into progressive grooves and immersive pads, unfolding toward a hypnotic endpoint.

20:20 Vision has been defining the house underground for decades now, and much of its earlier material remains as revealing as its newer output. A case in point is this reissue of the rare Echo Beach release. Founder Ralph Lawson and his old pal Carl Finlow's recordings from The Farm in the Rhubarb Triangle retain a warmth and analogue weight that contemporary production struggles to replicate - all hands-on-deck live passes through drum machines, synths and outboard desks, the process audible in every groove. The discovery of unreleased cut 'Blues Dimensions', which was rescued from corrupted DATs, is the real find here: rasping Moog bass, P-Funk refrain and heavy Rhodes that sounds anything but archival. Top drawer excavation.

2026 Repress

Fuse co-founder Enzo Siragusa steps up for productions duties once more with his Hard Steppers EP.

Flexin kicks things off with a pared down groover of a track simplicity is the key here, all the elements combining beautifully for a deadly hypnotic head nodder.

Jump Up once again harnesses Enzo's Jungalist past with a typical rave-inflected, monstrous b-line underpinning the brisk percussive nature of the track, a real treat for lovers of the black wax as the track is strictly VINYL ONLY.

Le Ceez is one of those OG Chicago House heads that we all know, admire and respect. As a kid, he was soaked in a huge serving of WGCI and WBMX, learning the chops with a mad famous house music cousin and religiously studying Ron Hardy and Frankie Knuckles’ edits.

He’s done a few things out there, but nothing beats his edits, his DJ skills, and his knowledge. Maybe you’ve heard similar tunes before, but don’t be fooled—this is the real deal to all of us who know a thing or two in the Windy City. So, here at Stilove4music, we stick together around Le Ceez and are proud to share his first batch of disco goodies.

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With his Periodical EP, Isaiah delivers a six-tracker rooted in the foundations of early techno, built around percussion, groove, and stripped-back functionality. As a driving force in the underground scene, both as a DJ and the founder of the Frenzy and Vulged collectives, Isaiah meticulously designed this EP for selectors and club settings.

Opening with 'Monthly', the EP sets the tone with a punchy kick, crisp high-end percussion and a driving bassline, while smeared textures and subtle effects create depth within a minimal framework. 'Yearly' intensifies the approach, with sharper hi-hats and layered mid percussion pushing the energy forward, maintaining a hypnotic yet no-frills momentum.'Hourly' keeps the focus on rhythm, pairing dense percussion work with a bouncing bassline that locks into a steady groove, while occasional pad accents add flashes of brightness.

On the second half, 'Real' strips things back, centering around a rolling bassline and sparse percussion, with shimmering synth touches guiding the track into deeper territory. 'Everlasting' reintroduces a tougher edge, driven by a hard-hitting kick and a bouncing low end, while eerie synth elements add a darker tone. Closing the EP, Beau Didier, a rising force in the Techno scene and fellow Frenzy collective member, reshapes 'Everlasting' into a smoother, more low-end focused roller. Known for his heavy basslines and powerful rhythms, Didier brings the bassline to the forefront, softens the percussion and introduces vocal chops that expand the atmosphere.

On his debut EP on Regal's Backspin Records, the 8th release of the newborn imprint, Isaiahpresents a focused collection of percussive techno tools built for diverse sets, offering tracks for every moment while maintaining a consistent, groove-driven identity throughout.

2026 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

There’s classics and there’s CLASSICS.

Roberta Flack & Donny Hathaway’s BACK TOGETHER AGAIN is truly a masterpiece.

The James Mtume and Reggie Lucas penned gem is timeless - as proved by this sumptuous remake by the unlikely pairing of Sarah Jane Morris (ex The Communards) and velvet voiced Italian growler Mario Biondo.

Unlikely yes, but the result is an instant Modern Soul classic snapped up for worldwide exclusive 7” vinyl release by
ANORAX. The duet, catchy and guaranteed to make you smile, brings back memories of Lisa Stansfield sparring with Barry White (Mario really does sound like the great man).

The sound of yesterday made for today with a touch of House prodding along a happy reincarnation of one of Soul Music’s most glorious moments.

The latest edition of 'Downtownsounds Classics' arrives from Dublin disco messers Fatty Fatty, just in time for the summer sunshine !

Fully licensed and cut loud on 12 inch vinyl the way God (aka Walter Gibbons) intended, it sees in-house producers Pablo and Shoey take on two choice cuts from the legendary Salsoul label.

Salsoul was the very first label to release a commercially available 12 inch remix - the aforementioned Gibbons and his 9 minute extension of Double Exposure's '10 Per Cent'. They would go on to issue a raft of underground disco classics with mixes by the legendary likes of Larry Levan, Tom Moulton and Shep Pettibone. Having robbed the famous 'Baker-Harris-Young' rhythm section from Philadelphia Records, they defined the disco sound in the second half of the 1970's and kept roaring well into the next decade.

The new mixes pay explicit tribute to two hugely formative influences on the Fatty fellas - The A extends the mysterious and wondrously wonky Big Bear edit of Bunny Sigler's 'By The Way You Dance'. Back in the day, these cosmic under-the-counter 12s helped show the Fatties how to disco real right, and they've stood the test of time wonderfully. This one has been at the front of Pablo's bag for longer than he cares to remember, and now the rest of the world can enjoy it, with some extra Pablo and Shoey disco magic thrown in for good measure...

Speaking of cosmic, the flip sees the lads turn in a stripped-back, ever-building mix of First Choice 'Hold Your Horses'. Having first heard this played by the Cosmic King himself, Danielle Baldelli, they found themselves let down by the commercially available mix. Through the disco haze, and with some subtle stemming, several outer-space whooshes and a string/vocal climax to die for, they've tried to recreate the way they heard Baldelli play it...

With the classic Salsoul artwork also present and correct, this is a love letter to perhaps the most important label in dance music history, with music that still sounds amazing five decades on... Don't sleep!

Lunatic Music returns with its next transmission — welcoming Remmy of Tokyo's underground into the fold.

A record that captures a sound that feels both loose and locked-in — tripped-out, playful, and quietly powerful. Having already been circulating in the right hands from Shibuya to deeper underground pockets across Asia and beyond, these tracks arrive tested and ready.

When The Dawn Breaks sets the tone with a bumping bassline that will get the room feeling much lighter, Ron Zepplin follows with a tougher edge, drawing inspiration that can only be described as Chicago sounds.Flip it and things get real, Underground is this hypnotic number that will command the dancefloor, vocals accompanied by some mind bending synth lines, time for the lunatics to transcend! Finishing off we got some remix treatment from across Timor sea, Fraktal of Indonesia put there spin on things with a stripped back mix.


Cosmic, Dance, and beyond — Another one for the bag.

TRON: Divergence (Companion-Album zum Soundtrack)
Mit „Tron: Divergence“ veröffentlichte Nine Inch Nails das Companion-Album zum Soundtrack des aktuellen TRON-Films Tron: Ares, dem neuesten Kapitel des legendären Sci-Fi-Franchise, das 1982 mit Tron
begann und 2010 mit Tron: Legacy fortgesetzt wurde. „Tron ARES: Divergence“ vereint neue Songs und
Remixes. Darunter Tracks, die im Film selbst zu hören sind und zusätzlich neue Interpretationen von einer
stilistisch vielfältigen Riege an Kollaborateur:innen. Mit dabei sind u.a. Boys Noize, The Dare, Pixel Grip
und Chilly Gonzales, die dem digitalen TRON-Universum ihre ganz eigene klangliche Handschrift verleihen.
Das physische Album wird am 5. Juni erscheinen.

Obscura Pulse I marks the start of a new label series delving into contemporary pulsating sounds of underground wave-infused music. Selected tracks of previously unreleased material or available on vinyl for the first time.

The first edition moves through the realms of European wave music, with support from German EBM act XTR Human, Dutch/Romanian synthpunk act Badtime, Italian darkwave/post-punk duo Schonwald, German Age O.P.F., Dutch darkwave queen Camy Huot, Austrian minimal synth duo Mitra Mitra, Dutch minimal wave act Raderkraft, Belarusian goth/coldwave act Tout Debord, Dutch synthwave wizard Adam Tristar and Croatian minimal synth maestro Neon Lies.

Explore the shadow frequencies of the underground pulse: from the hard hitting warehouse EBM energy in opener “Sledgehammer” by XTR Human (remixed by Dancing Plague). The analog machinery mastered by Raderkraft in future minimal wave classic “Virtual Reality Check” or Adam Tristar exploring cinematic synth landscapes balancing between retro futurism and dark club momentum in “Goosebumps”. On the flipside, Schonwald’s “Starless” bolts menacingly on gritty drones, metallic drum programming and rumbling bass lines. Mitra Mitra crafts suspense in the elegantly synth-driven soundscape “The Lure of the Naïve” and Neon Lies closes the circle with moody synthwave melancholy in “Heavens”

Diffuse Reality presents Rotor Militia - Exit Human A double LP on vinyl, also available in digital format. Eight tracks that will flood your heart, mind, and soul with emotion. Robust and powerful Techno built on off-beats, broken rhythms, and industrial sounds, layered with celestial textures and atmospheres. A constant interplay of immersive drums drives the energy throughout the record. Without a doubt, a very special vinyl, a timeless piece. Prepare yourself for a journey with no return!

Keep Pushin’ Aun EP stays true to the label's spirit of "Ancient Future Music" and solidifies its unique sound. Insane Who Sane collaborated with emerging Detroit songstress DePeila to create this genre-blurring record. The EP ventures into the realm of neo-tech soul and includes a Late Night Remix by Reggie Dokes.

Some records point at the dancefloor; this one points at the sky. Decryption Of Reality is dubtommy's first solo record for NOREPRESS – the sublabel where he first surfaced on 2022's Pasanauri Way — and it lands as dub tech house wired to the stars: deep, driving, and lit from somewhere far off.

Across four tracks, wide synths stretch over a steady, danceable pulse and drag the groove off-world – less a night in a club than a signal caught from deep space. Three cuts keep the floor moving, bright and propulsive; the closer, "CDEFGAB" – named for the bare notes of the scale – sets down softly into something quieter and near-weightless, back to first principles.

A record for the deep end of the floor and the long drift home.

NOREPRESS is a division of MixCult Records