With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.
Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.
Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.
With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.
With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.
Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.
Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.
With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.
Irish techno producer, Kerrie, returns to Tresor Records on the 24th of October 2025 with her second EP for the label. Entitled Echoes Of The Live Wire, this collection captures the beauty and essence of live performance; a moment in time never to be repeated.
This fixing of time is also given a different meaning as the EP explores the ways in which intense moments in our lives, both joyful and painful, are crystallised into memory, both beautiful and haunting, lingering long after they've passed.
Layered meanings are employed throughout as Kerrie explores this idea: Live Wire draws connections between circuit boards and the human nervous system, whilst also toying with multiple meanings of the word “live”.
Echoes Of channels classic Detroit techno influences, resonating with the distant hum of memories that refuse to fade, while Moment To Memory is a beatless, floating piece which slowly builds to an ecstatic crescendo.
Digital bonus tracks Recircuit and Reclaim add further depth to the core metaphor: the former a driving, minimal yet building techno work-out, and the latter a cathartic and emotionally open track that delivers intensity with vulnerability.
Echoes Of The Live Wire reflects on memory as a complex, dual-sided force where joy and pain coexist with equal weight. Her creative process becomes a form of meditation and emotional processing, using machines to process, reflect, and let go. The result is a body of work that loops back on itself, telling a story of fleeting moments and their lasting emotional imprints.
**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).
Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.
At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.
With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.
Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O'Neill, and producer Lewie Day. 'a.s.o.' is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O'Neill show they've mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work.
We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow- burning AOR-soul, and dubwise stylings. As a result, 'a.s.o.' is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It's an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity.
It's anchored by Alia's unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day's music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space.
'a.s.o.' is a journey; by its end, we all are changed
Dame-Music celebrates its 55th release with Second State Of Reality EP, a special reissue of two acclaimed Bloody Mary tracks, “Reality One (Acid Mix)” and “Reality Three (909 Mix)”, alongside a brand new remix by techno legend Chris Liebing, one of the genre’s most influential and enduring artists.
For the A-side, Bloody Mary invited Liebing to reinterpret “Reality One (Acid Mix)”. A long-time supporter of his work, she wanted to hear her track through his distinctive sonic approach. The result is a heavy, driving techno remix, pushing the original’s acid energy into darker and harder territory.
The B-side returns to Bloody Mary’s hardware roots, with crunchy TR-909 drums, crisp highs and mind-melting 303 sequences across two raw, hypnotic cuts.
A special reissue celebrating the 55th release on Dame-Music, bringing Bloody Mary’s acclaimed hardware productions back together with a fresh Chris Liebing interpretation.
The roots of Nightlong can be traced back to Havana in early 2008, where a series of recordings captured some of the most compelling contemporary Cuban singers and musicians. These sessions yielded a striking collection of voices, woodwinds, and brass, all imbued with a distinctive warmth and vitality—material that called for a careful and inspired reinterpretation.
That reinterpretation came from Maayan Nidam. With remarkable intuition and precision, she distilled the essence of these performances and reshaped them into a work that feels both organic and forward-looking. Moving beyond her signature dance floor framework, Nidam explores a wider range of rhythms, textures, and tonal depth, crafting an album that unfolds with subtle complexity and emotional resonance.
The result is a fluid and immersive record—one that transforms its source into something entirely new, while preserving its expressive core.
The record stems from a deep-seated urge to craft something entirely personal; the vocal is CARISTA's own, a result of a discarded Ableton sample that lacked the necessary soul. By recording it herself, she captures a raw, magnetic intimacy. This process, taking standard materials and transmuting them into something deeply individual, mirrors the very alchemy found on the most transcendent dance floors. Whether you find yourself in a sea of strangers or flanked by your closest kin, there is a singular moment where every element aligns. It is a feeling of stepping past your own physical limits to truly experience the best of times.
The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.
Vocalisations like ‘Hooo’ and ‘Huhuh’ form the wordplay on Use Knife’s upcoming release as these sounds are meant to summon strength, overcome fear and unleash unwavering sonic assault. Set for November 20, the EP ‘Hooo Huhuh’, on the band’s own Hooo Huhuh record label, is Use Knife’s first release since its acclaimed 2nd album ‘État Coupable’ on VIERNULVIER records in 2025.
The journey of Use Knife began in 2020 during a music residency in art centre VIERNULVIER (Gent, be) when Iraqi percussionist Saif Al-Qaissy, Stef Heeren and Kwinten Mordijck, as well as the multidisciplinary artist and scenographer Youniss Ahamad, came together to form Use Knife, later joined by Jerusalem In My Heart’s Radwan Ghazi Moumneh as mixer and guest musician. The project quickly gained the attention of prestigious platforms like The Wire, The Quietus, BBC6's New Music Fix, KEXP, NTS, Inverted Audio, METAL Magazine, Ma3azef, A Closer Listen, and others documenting the universal resonance of Use Knife's message.
Since releasing its debut album ‘The Shedding of Skin’ on VIERNULVIER, a remix EP ‘Peace Carnival’ on Morphine records, and follow-up album ‘État Coupable’, Use Knife has played its visceral audio-visual liveshows at many prestigious festivals like Le Guess Who?, Tremor, Colours of Ostrava, Les Trans Musicales, Rewire, Sonic City, Resonator, Roadburn, Donau, Fusion, Rage Sacrée, Micro, Clandestino, E-fest and many more.
Praised by The Quietus and The Wire for its vibrant and wholehearted performances, Use Knife has been described as an electrifying live act that fully engages its members and audience alike. Their sound, dubbed 'industrial Iraqi EBM', is celebrated for its ability to immerse the audience in a hypnotic state, erasing global borders through real-life connection and dazzling visuals on gigantic projection fabrics, resulting in exhilarating sensory experiences.
Further extending Use Knife's influence, Radio alHara in Palestine has hosted Use Knife's 'Feeding the Gentry' show since 2023, where the band aims to build a community by opening their platform to other guests like Saint Abdullah & Eomac, Monstera Occulta, Cinna Peyghami, Bader, Anthony Sahyoun, ... thus broadening the band's international reach and impact.
Earlier this year, Use Knife collaborated with Rabih Beaini from Morphine Records to re-remix the band’s track ‘To Feed the Gentry’ (feat. Radwan Ghazi Moumneh), blending in the beautiful track ‘Kunna’ by Rully Shabara. The resulting track was included in Beacon Sound’s compilation ‘Gaza is the Moral Compass’ to help support Palestinian-led mutual-aid groups on the ground in Gaza.
The forthcoming 'Hooo Huhuh' EP, releasing on November 20, advocates for the resilience and determination of the people, their collectives and communities, with energetic vocalizations, distorted percussion and throbbing saxophones. The title track, originally mixed by Radwan Ghazi Moumneh and mastered by Heba Kadry during the ‘État Coupable’ sessions, has been surgically reworked into the clubby rant that is ‘Ho Hahaa Huh’ and the drone-like mantra ‘Nobody Can Separate Us محد يكدر يفركنا’.
The limited vinyl edition comes with a 3-color risoprinted sleeve designed by Lebanese artist and graphic designer Farah Fayyad.
The Forbidden Planet is the new album by Tomorrow Comes The Harvest, featuring Rasheeda Ali. The album explores a wide range of electronic and acoustic improvisational conversations, creating expansive and constantly evolving sound landscapes.
The recording carries forward many of the qualities that have made Tomorrow Comes The Harvest so distinctive from its beginnings. The project originated through the percussive dialogue between Jeff Mills and the late Afrobeat pioneer Tony Allen. When thetwo creative forces first came together several years ago, what emerged was more than a collaboration or musical conversation. They opened a pathway-a way of creating through instinct, exchange, rhythm and freedom. That pathway continues to lead toward new horizons, and The Forbidden Planet is evidence of just how far it can travel.
The album is the result of an intricate creative process spanning nearly two years, connecting a series of recording sessions at notable studios including Criteria Studios in Miami, Soda Sound, and the legendary Studio Ferber in Paris, France.
The Forbidden Planet explores the more cerebral dimensions of the band's vast musical language. An idea is introduced, and almost immediately it begins to transform. Themes are questioned, reshaped and redirected as the musicians respond instinctively to one another.
As Tomorrow Comes The Harvest is known for, the performances were recorded largely through improvisation, often capturing the energy and spontaneity of an almost one-take process. These recordings were later carefully refined and shaped into the compositional structures heard throughout the album.
The creative seeds have been planted in fertile ground, allowing ideas to grow naturally and without restriction. In rhythm and in spirit, each musician contributes an essential voice to the conversation. Within that collective precision lies something even more important: a shared love of musical freedom and the possibility of creating without boundaries.
Prabhu Edouard - tabla and vocals
Jean-Phi Dary - keyboards
Jeff Mills - percussion and electronics
Featuring Rasheeda Ali on flute, with a special guest appearance by Laurent Vernerey on electric bass.
The Forbidden Planet will be released November 20th, 2026 on Axis Records on Double-Vinyl & CD + DVD. The DVD features selected live footage from Tomorrow Comes The Harvest, featuring Jeff Mills, Jean-Phi Dary, Prabhu Edouard and Rasheeda Ali.
Filmed & recorded live at London Jazz Café on September 27th, 2025, the footage captures highlights from the band's unique fusion of electronic music, jazz, percussion and improvisation.
This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name.
From Rewire to the Studio
The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float.
Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio.
A New Vision of Nostalgia
The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’
Identity and Evolution
The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change."
Realisation through Crowdfunding
Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.
In 1990, John Williams created the compilation album John Williams Conducts John Williams – The Star Wars Trilogy, which features 13 of his most memorable tracks from the original Star Wars Trilogy. All performed by the Skywalker Symphony Orchestra, it features the iconic “Main Theme” and “Throne Room / Finale” from Episode IV – A New Hope, “The Imperial March” from Episode V – The Empire Strikes Back, and “Luke And Leia”. The album brings together some of the best-known themes from the original trilogy in one collection. The result is a varied selection of music from across the three films.
John Williams Conducts John Williams – The Star Wars Trilogy is available on black vinyl. This 2LP package includes an insert with liner notes by the creator of the Star Wars franchise, George Lucas.
Smallville presents a very special album project – 'Tumbling Cycles' by Billus is here to stay! Ethereal deep-dubby house music from Australia, that feels like finding the hidden-treasure you were not even looking for.
„When I am most enjoying making music, I have this sense that I'm just watching cycles of sound happen and match up in front me on their own and I'm not really just doing anything and it's really nice. Most of these tracks stem from a small collection of
iteratively distorted percussive jazz and breaks that I kept coming back to and watching them cycle around each other.“
This is Billus' approach while he is out in the studio zone. As a result, we all get the chance to scuba-dive into his soundscapes like a warm blanket, interwoven rhythms and cosmic textures, that seem to have the ability to heal. The fresh feels was real,
every time the album went by.
Billus is praised for his impeccable mixtapes for a lot of very special occasions of doing not a lot- make sure to check these out. And Billus produces sprawling music- he released on Naarm labels Animalia, Vessel and Pollinate and he makes music to shyaway in the woods, picking up lil mushrooms if you feel like- or leave these untouched for the same effects.
So while listening to the Tumbling Cycles LP, make yourself comfy and try to work out your own personal scenario, in which Billus' music and his leftfield approach would flourish best. These tracks come with approval by the sweetest dancefloors
around the world and we can't wait to release these to the world. The 2x12“ comes with a stunning full-cover artwork from Stefan Marx.
Music From Memory presents ‘Sleep Machines’, a new collaborative album from UK ambient pioneers O Yuki Conjugate and German producer and DJ Philipp Otterbach.
Formed in Nottingham in 1982, O Yuki Conjugate have spent more than four decades developing a singular approach to what they now describe as ‘dirty ambient’. Emerging from the post-punk DIY scene and drawing early inspiration from artists including Cabaret Voltaire, The Durutti Column and Jon Hassell, the group gradually carved out a space between post-industrial electronics, ambient music and Fourth World experimentation. Centred today around founding members Roger Horberry and Andrew Hulme, their work has retained an outsider sensibility throughout its many periods of activity and hibernation.
Philipp Otterbach approaches music from an equally open-ended perspective. As a producer, collector and DJ, his work moves freely between drone, dub, techno, house and electronics. His sets and productions share a fascination with unexpected connections, allowing disparate sounds to drift into one another through intuition rather than fixed genre boundaries.
‘Sleep Machines’ began with a chance meeting at The Gun on Well St. in London. Otterbach asked, “Would you be interested in doing a collaboration?”
“A collaboration? Sorry, we don't do collaborations,” came the reply.
“But wouldn’t it be fun?”
“We don't do fun either.”
Despite themselves, O Yuki Conjugate tentatively sent over an initial track. An avalanche of ideas quickly came back, and what began as an unlikely proposal developed into 18 months of recording, file-swapping, mixing and repeated reworking between the UK and Germany.
Produced by Otterbach, the resulting ten tracks bring together recognisable elements of both sides while gradually dissolving the lines between them. O Yuki Conjugate’s hazy atmospheres, dubwise spaces and tactile rhythms meet Otterbach’s instinct for strange detail, low-slung electronics and shifting forms. Rather than functioning as a collection of separate pieces, the album moves without gaps, unfolding as a single continuous work in which one environment slowly slips into the next.
‘Sleep Machines’ is both O Yuki Conjugate’s first collaborative album and an unlikely meeting point between two generations of musicians whose work has consistently existed at the edges of established forms.
Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.
Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.
For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.
Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.
The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.
Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.
What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,
What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,
DJ Koze unveils a spiritual and surprising journey into rapturous spheres with Wespennest EP. The visionary artist and master of electronic sound, presents his first own release after 2018's global club hit "Pick Up".
"Candidasa" and "Wespennest" are the result of DJ Kozes inspiring stay in a secluded Benedictine monastery on the enchanting island of Sulawesi. Amidst this idyllic setting, he found the perfect environment to unleash his musical vision. He composed all of the music of "Candidasa" while lying on his stomach, in an act of deepest devotion and self-reflection. In doing so, he fed exclusively on so-called heroin kebabs to immerse himself in a trance-like state of creative flow. The result is a soundscape of unimagined depth and beauty that enchants the senses and transports listeners to another dimension by massively increasing the frequency of flicker fusion.
On "Wespennest” the wonderful Sophia Kennedy takes the stage and breathes a new dimension into the music with her impactful lyrics and vocals. With generous dedication, Sophia has provided exclusive excerpts of her yet unreleased songs, giving this track a radiant psychedelic power. The combination of DJ Kozes musical genius and Sophia Kennedy's glorious vocals creates a club track full of wonderment, opening up a mystical rapturous world for listeners. Already an instant classic of German dance music.
With "Candidasa" and "Wespennest" DJ Koze has once again pushed the boundaries of electronic sounds and created a spiritual journey that touches the soul and frees the mind. This EP is the first harbinger of his highly anticipated new album, which will be released in 2024. The time until the release can be wonderfully bridged with the magical album "Hit Parade", which DJ Koze has produced for the British legend Róisín Murphy and on which we can be carried away into the world of musical brilliance.
Do you know what time it is It's debut o'clock. Emitting his first material for Pampa, it's &ME - craftsman of all things deep and sturdy, at the same time connoisseur of emotive touch and virtuoso of sure instincts, one of the scene's central characters for a good amount of years now and one of the main figures of Berlin's Keinemusik-crew. The man has been hitting the bulls eye of public perception several times in the past, meeting everything it takes to get a crowd going with an intent on the detail when it comes to his arrangements and sound. These new two cuts seem nothing less than the essence of his abilities.
There is "In Your Eyes", the name lending A side to this EP, showcasing a rather pensive mood. It's just a few bars for the compound of kickdrum, tuned hi-hat tambourine and shimmering background noise until the first chords of an improvised piano-piece are tenderly laid upon the beat. Add a synth-motive coming back and forth and you'll have the main ingredients to this - in every sense of the word - floor-moving tune. Accordingly, the arrangement won't aim for an all too obvious sensationalism and rather opts for a flowing and intertwining call and response of its elements, ultimately resulting in a staggering impact anyway.
In comparison, "As Above So Below" on the flipside is adding a fair amount of emphasis. It unfolds in a dry and dense sounding beat-architecture that's suspense-packed with shaker sounds and subtextual field recordings. Most certainly, a slip-proof ground for this tune's centre-piece, a scale-riding synthbass sparking an almost anthemic trigger for floor-ecstasy. While details like subtle reverberating tapping and sparkling ambient textures sound like recorded deep down in a dripstone cave, the overall energetic layout pushes relentlessly to the heights of peaktime-grandeur. There you have it: "As Above So Below" - this tune works on every level.
FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.
Elypsia Records presents A Future Tribe, the new album from Italian electronic music producers CEM3340 & 2030. Rooted in the formative language of electro and early techno, A Future Tribe channels the past through a lens very much focused on the future. Across the album, analogue warmth, machine-driven funk, synthetic textures and futuristic atmospheres come together in a sound that channels the pioneering spirit of early Detroit while remaining unmistakably connected to the present. For CEM3340 and 2030, machines are not simply tools, they are central to the creative process. Both producers have spent years immersed in the culture of electronic hardware. They've been carefully building and refining their own approach to production through an extensive collection of synthesisers, drum machines, sequencers and studio equipment. Based in Bari, southern Italy, their work reflects a deep fascination with the physicality of electronic music: oscillators, circuitry, voltage, rhythm and the unpredictable character of machines programmed and played with a human touch. That philosophy is deeply embedded in A Future Tribe. Rather than treating the early years of techno as a museum piece, CEM3340 & 2030 approach its foundational ideas as a living language - one that can be stripped back, re-translated and taken somewhere new. The influence of Detroit's first generation of electronic innovators is unmistakable. There are echoes of the futuristic electro and techno pioneered by artists including Juan Atkins and his contemporaries, where funk, science fiction, machines and the possibilities of tomorrow became part of a new musical vocabulary. It is an approach that has already earned the duo recognition within that lineage. Their previous Machines Awake EP, released through Atkins' Metroplex Records, was described as paying homage to the classic foundations of the genre while pushing them into new territory. Juan himself gave the release his sonic approval. But A Future Tribe is not an exercise in retro-futurism for its own sake. The album comes from two producers who understand the history, have the hardware to explore it and, crucially, are interested in what happens when those influences are given space to evolve. The result is electronic music that is full of funk, groove and a kind of nostalgia that is pure and intentional without being a pastiche. Together, they make music that is rooted in one simple truth: machines can't come to life without human creativity.
The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.
FORT is launching a sub-label, NOCOWALNYA, and introducing its debut release.
The new label's guiding principles are authenticity, the personal taste of its founders, and a synergy of opposing sensibilities: melancholic romanticism and raw, uncompromising rhythm. The first release is the EP NOCOWALNYA 001, recorded by three key figures of the label: Nocow, Valentin Fufaev, and DJ Designer.
NOCOWALNYA deliberately steers away from the canons of classic techno, trance, or house. The label is built as a space for artists ready for unconventional forms and bold experiments, a place to express their individuality.
The sub-label's visual symbol, a logo of two young men standing on an anvil, sums up the idea perfectly. It's a manifesto of duality: fragile sensitivity set against a cold, industrial beat, romantic motifs joined with dense, hard-hitting sound.
It's fitting that the sub-label takes its first step with its three founders, who stood at the origins of FORT. NOCOWALNYA 001 distills their shared vision and shows how different creative approaches can come together as a single monolith.
The result is a techno-trance hybrid where driving energy meets sincere musical drama. This release doesn't just open the new label's catalogue, it sets the direction for every single and mini-album to follow. The release will come out in two formats: digital and vinyl.
Let's go back to the open-minded days of the '90s, when Goa-trance wasn't strictly defined! DICA & Antidot are the perfect example of genre-crossing artists. French artist DICA is already a well-known name in the acid scene and teamed up with his friend Antidot for this EP. After visiting ZNA and Apsara, their love for Goa-trance deepened...and it shows!
Picture a room full of analog machines and two guys tweaking them like madmen. The result? A high-energy acid/Goa-trance crossover with a touch of hard trance. All tracks have been tested on dancefloors with truly uplifting results! We hope you're ready for this madness too!
*TIP* Previously released on Low Company in 2023, now back... a weirdo lo fi gem
Naturestrip, Naarm, Australia write:
"purely physical teeny tapes perform an invaluable public service in exhuming static cleaner lost reward’s ‘breathing under honey from the heady year o’ 2023’, a slack-jawed riddle within the all-consuming enigma that is thee world of tarquin manek™.
few records command a reissue so soon after their release, the soil heaped atop the (sainted) low company corpse still remaining more than a little damp, but this one’s discreet-to-the-point-of-fury initial release justifies the flogging of the proverbial carked horse, boiled back down into glue for a fresh round of rollicking mucky. arriving as the last release on that fine imprint, ‘breathing under honey’ represents (obliquely, natch) something of a convenient summary of that aforementioned elegantly sloshed world™, condensing as it does the artist’s proclivities exercised among the sweetest of contemporary depth-dwellers, articulated alongside/within y.l. hooi, bum creek, carla dal forno, f ingers, kallista kult, under endless solo monikers…the fun never ends.
let loose here in a suitably gonzo/spellunked mood, the second full-length under the static cleaner moniker (see debut $mile$ from 2013 thru altered states) is compiled of delirious half-thoughts & riddimic gestures accumulated between 2013 & 2020, everything wet & awash with a fine sprouting of lysergic mush between its digits. the implication thereof might suggest something schlonky or amateurish, but fear not, prospective listener, for your ears are in the sticky hands of one of the finest shit-savant prodigies these times have known, crud-caked technoid shapes & blissed pop-glob nous submerged in sublime dubbed-out grog, the resulting sonar-pong shards positively chemical in their ability to simultaneously slant + seduce.
think: martin denny face-deep in a paper bag at the black ark, graciously fucked tropicalia, liquid dub techno housed in vat of spiked quaff, the skaters infiltrating urban tribe, lopsided + caked to the nines in glitter for the gutter.
utterly tranced, sumptuous/sweet & patently ill. a classique of this modern horror epoch if there ever was one."
Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.
In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.
Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."
And now the follow up single of "Searchin/Tongue Tied"
Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.
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.
Following 2024’s Echoes of the Night EP, Michael Hodgson returns with Apply the Dub: four stunning new Adrian Sherwood remixes, this time of his long-running solo project, Misled Convoy.
The EP’s title is a nod to Sherwood’s renowned process in which tracks are not simply remixed, but dismantled, fed into his dub machinery and reimagined. The results are spacious and compelling, epic in scope, rich in detail and loaded with bass.
The prophetic voice of Kat Five (Feral Five) looms large on the opening track, as does Miho Wada’s flute on the last. David “Ital Horns” Fullwood returns to the project, providing trumpet to two of the tunes, while Doug Wimbish (Tack>>Head / Living Colour) adds bass, and Mark Bandola (The Lucy Show) guitar and keys, to a different pair of remixes.
The sessions began in 2025, with the original tracks drawn from the more experimental and industrial side of Misled Convoy, giving Sherwood plenty of room to work with sonically. In his Ramsgate studio, frequencies were pulled apart, bass lines elevated and melodies stretched while sounds disappeared into layers of delay, echo and dub processing before emerging dazed & confused and somewhere else entirely.
Since dub is the compositional glue that fuels Hodgson’s creative dynamic, this collaboration meant reverse engineering his process and stripping his compositions back to the bare bones: “Before we hit the studio, I had to remove a whole lot of my effects to make space for Adrian, which made the track sound empty and super weird, but this is how the magic happens. When you do a remix, you are inviting an artist you respect into your creative process and watch it get reimagined. This is a big part of dub and remix culture.”
Very much a meeting of two complementary approaches to sound, Apply the Dub has Hodgson’s dark and atmospheric electronica enhanced and deeply embellished by Sherwood’s long-established sonic manipulation and dub-mixing.
For Hodgson, the connection with Sherwood and On-U Sound has been life-long, from being a fan in his youth in Aotearoa New Zealand to supporting Patrick Docktor’s archiving of the label’s video and audio collection in London. In 2019 Sherwood invited Hodgson to collaborate with artist Peter Harris to create a visual backdrop to accompany his Time Boom X The Upsetter Dub Sessions tour. Hodgson went on to create videos for On-U’s 40th anniversary celebration at The Forum in London, helped with the immersive 3D Live Dub Experience at Earth Theatre and travelled to Japan for the Collapse of Everything tour where he worked on live video triggering for Sherwood’s shows.
On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.
On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.
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.
Since its inception, Isness has developed its own identity alongside Analogical Force, focusing on atmospheric and introspective electronics. For its third release, the label welcomes Kid Bucle, the new alias of Ibrah PM, formerly known as Malsum within the d&b scene. Memorabilia marks both his debut on the label and the beginning of a new creative chapter. Across six interconnected tracks, the Memorabilia EP explores memory, landscape and emotion through fluid compositions and richly detailed sound design. Echoes of labels such as Merck or Chocolate Industries can be felt throughout, alongside traces of classic IDM, yet the result remains fresh and distinctly contemporary. Rather than seeking immediate impact, the EP rewards attentive listening, gradually revealing new layers with every return. Deeply immersive and emotionally resonant, Memorabilia further reinforces Isness as a platform where atmosphere, narrative and emotional depth take center stage.
Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.
Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.
Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.
Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.
Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.
Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.
Following their acclaimed collaboration with Mad Professor, Sensible Soccers return to 8mm Records with a brand new remix EP featuring three true cult producers: Tolouse Low Trax, Danilo Plessow and Peaking Lights.
Opening the record, Tolouse Low Trax reshapes “Efeito Zandinga” into a mesmerizing journey connecting the hypnotic afrobeat of Fela Kuti with the raw pulse of Detroit techno. Ritualistic, immersive and deeply transportive.
On “Saravá”, Danilo Plessow turns the original track into a powerful acid house banger reminiscent of his recent Rude Futures productions, while preserving the warm and organic sensibility of Sensible Soccers. The result is an explosive blend of adrenaline, groove and uplifting energy, destined to set summer dancefloors on fire.
Closing the EP, Peaking Lights deliver a stunning reinterpretation of “Rosa Mota”, elevating the post-dub and psychedelic side of Sensible Soccers into a cosmic electronic voyage of remarkable depth. A simply beautiful finale that pushes the band’s sonic universe even further into new psychedelic and electronic territories.
Three remixes, three unique visions: a powerful meeting point between psychedelic dub, afro-futurism and forward-thinking club music.
Roland Leesker Remixes Inner City Classic ‘Pennies From Heaven’
Definitive Recordings presents a powerful new remix by Roland Leesker of ‘Pennies From Heaven’, the timeless house classic by Inner City, originally released in 1992.
Founded by Kevin Saunderson, one of the legendary Belleville Three and a key architect of Detroit techno, Inner City shaped the sound of electronic music with global hits like ‘Big Fun’ and ‘Good Life’. With over six million records sold and decades of influence, their catalogue remains a cornerstone of dance music culture.
On his remix, Roland Leesker transforms ‘Pennies From Heaven’ into a driving, floor-focused house weapon. Built around a heavy, straight TR-909 groove, the track gradually introduces elements from the original in a layered, loop-based arrangement.
The remix reaches its peak in a powerful breakdown, where the full main theme and vocals unfold, creating a classic hands-inthe-air moment before dropping back into the stomping groove. The result is a modern interpretation that stays true to the spirit of the original while delivering maximum impact on today’s dancefloors.
Roland Leesker, a long-standing figure in house music, has been active since the late 80s, with roots in Frankfurt’s club scene and later key roles in New York, Berlin, and the global music industry. From his early days at Delirium Records to his work with Get Physical Music and beyond, Leesker has consistently contributed to shaping electronic music culture.
This remix brings past and present together, offering a respectful reimagining of a classic for today’s house music dancefloors. The vinyl release is completed by an additional Acapella Tool on the B-side, offering DJs a stripped-back version focused on the iconic vocal elements of the track — perfect for creative mixing and extended club moments.
Telfort continues his considered run of self‑releases with a sixth outing of deep, expressive house music that captures the warmth, emotion and subtle evolution of his signature sound.
Across three cuts, he balances classic dancefloor instinct with a deft melodic touch – from driving grooves and warm, rolling low‑ends to lush, uplifting turns and hazier, introspective closes. The result is a rich, diverse yet cohesive statement from an artist still refining what makes his music resonate, further reaffirming the inimitable style that has defined Telfort’s output since the label’s first release over ten years ago.
“Wavebreaker” is a magnificent post-punk and minimal wave album originally self-released in 2024 by Orus Boris — a brilliant work that unquestionably deserved a proper vinyl edition for both its musical depth and outstanding technical quality. Built around a truly exceptional production, “Wavebreaker” moves in line with the finest contemporary wave sounds while constantly expanding its own universe. The album never feels nostalgic or predictable. Instead, it reshapes its influences into something fluid, sharp, and deeply personal, refusing to remain confined to a single language. Alongside its minimal wave foundations, the record introduces subtle incursions into darker electronic territories such as dark electro aesthetics, making each track feel unexpected and constantly evolving. Melancholy collides with tension, elegance with aggression, precision with emotional weight. The result is an immersive and surprising listening experience from beginning to end—a remarkable work that confirms Orus Boris as one of the most exciting and essential voices to follow within the new wave underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
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.
A pure goa-trance-classics compilation; back on vinyl with Astral Projection, MFG, Xenomorph, Shakta, Oforia,... !
This compilation opens with a track of Roy Sasson, who was famous in the 90s as part of Shidapu. Here he opens with a deep & groovy psychedelic dancefloor monster. The second track has a darker atmosphere, is super powerful but also melodic and spiralling! Xenomorph hasn't released any music for a long time, but he clearly kept his magical touch! That darker touch is carried on by Battle of the Future Buddhas, who went towards pure acid 303 territories in his haunting track! Shakta brings back some sunshine with his funky uplifting "Expedition To Earth"! Now after this first part of the CD come two of the most famous Goa-trance names ever: Astral Projection & MFG! They both do what they do best: creating wonderful melodic soundscapes! Sensitive, emotional & harmonious trancy music for people that want to feel a sunny dancefloor through music! Then RA mixed his known euphoric type of melodies & chords with a more modern sound! The result? Music that will do the trick on every dancefloor around the world. The ender is a more floating, warm track of Oforia, who showcases his more mellow style :)
We hope to create the same heartwarming feeling in your heart, as the one we had when we heard goa-trance for the first time! Enjoy and make sure to land again after reaching the sky!
Detroit producer and DJ Kyle Hall joins forces with New Zealand drummer, producer, and current Fat Freddy's Drop drummer Cory Champion for a new collaborative 12-inch on Wild Oats Music, featuring the tracks "Acuna De Mar" and "Steppin'".
Hall and Champion first met in Auckland in 2016 while Kyle was touring Australia and New Zealand. They stayed in touch over the years, with Champion regularly sharing music from his Borrowed CS and Clear Path Ensemble projects—records that Hall quickly became a fan of and frequently included in his DJ sets.
When Hall returned to Australia last November, Champion had relocated to Melbourne. The two seized the opportunity to spend time together in the studio at Dune Castle, where their shared musical language naturally evolved into these two recordings.
Rooted in a mutual appreciation for jazz, deep house tradition, rich chord voicings, and rhythmic syncopation, "Acuna De Mar" and "Steppin'" capture the organic chemistry between two artists whose paths have crossed over nearly a decade. The result is a warm, groove-driven release that reflects both Hall's Detroit sensibility and Champion's distinctive rhythmic approach.
The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.
GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.
The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.
Kampana’s essential 7” series continues with another unmissable EP, featuring mysterious jazz and soul groove-magician Vanilla. The UK producer brings his beat-making skills to the disco format with stunning results.
'Turn Me Loose' blends an early 80s jazz funk groove, vocal chops and modern synths, creating an infectious mid-tempo disco number.
'Into My Eyes' - remastered for 2021 - features a percussive slap bass, with catchy vocals and classic filters for another timeless, uplifting anthem.
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!
Damage Code is the result of the convergence of two long-standing figures from the underground industrial and EBM scene: Carlos Grabstein (89s✝) and Ben Bunzen (Hammershøi). Released in partnership with Miseria records, their first collaboration unfolds through proto-industrial sequences, oppressive atmospheres, repetitive structures, and distorted transmissions, all wrapped in body-driven percussion that pulls the listener into a controlled state of sensory overload. Harsh yet precise, ritualistic yet futuristic, the record advances with relentless intensity while maintaining a raw, physical energy throughout. Somewhere between the diseased electronics of Front Line Assembly and the primitive industrial tension of Esplendor Geométrico, Digital Slave channels a sound that is both confrontational and hypnotic. With “Digital Slave”, Damage Code opens a new portal into industrial body music: dense, punishing, and engineered to trap the mind inside its circuitry. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
The "La Musica Habla EP Purple Splattered Vinyl Edition" by 5universos is released as a 12" and focuses on stripped-back club sounds that move between minimal house and tech house. Striking bass sequences, pinpoint percussion, and sparingly placed melodic fragments create room for subtle tension; Balearic-tinged textures and dub elements stand out as stylistic markers, giving the tracks an airy spaciousness and allowing DJs to craft clear transitions in the mix.
The project is headed by Cristian Cosignani, who releases his own productions under the name 5UNIVERSOS and also runs the label of the same name. 5 Universos simultaneously serves as a vinyl store and a platform for curated releases, enabling the label to maintain a close connection to the club and DJ scene while keeping its program firmly focused on physical editions.
Sonically, the release relies on clear arrangements and a DJ-friendly structure: long, hypnotic sections, subtle filter work, and a focused low-end range invite creative mixing. The Purple Splattered Vinyl Edition underscores its collectible nature without placing the musical intention to front and center; the result is a matter-of-fact, dance-oriented EP that puts the characteristic style of 5universos in the spotlight.
Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.
In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.
'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.
Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.
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.
Hot Creations Summer 2026 Vinyl Sampler featuring four of the Hottest recent releases on Hot Creations.
Adam Ten and Asulin join forces for the first time on Hot Creations with ‘Warawara’. Fusing driving grooves, finely tuned production, and emotive vocals into a cohesive club-ready statement. ‘Warawara’ moves with hypnotic energy and forward momentum, as Adam Ten channels his signature blend of evolving rhythms and precise production, before Asulin’s vocals weave seamlessly through the arrangement, delivering melodic clarity and emotional resonance. High-flying UK DJ/producer Riordan debuts on Hot Creations with ‘Feel The Funk’ which locks into a slick groove built around silky M1 organs, skippy drums, and soulful vocals, as it twists through a series of cascading builds and drops. Infectious as hell!
Following the release of ‘Murder Mystery’ in October, Jamie Jones’ groove-driven track returns with a reinterpretation from one of the scene’s most hyped talents: German producer Kolter’s remix injects the track with his unmistakable style: deep, rolling basslines, playful funk tones, and raw, 90s-inspired textures that keep the energy moving. The result is a version that maintains the original’s tension and groove while opening new sonic spaces for DJs and dancefloor explorers alike - bridging underground sensibilities with festival-ready punch. Finally, Volkoder returns to Hot Creations with ‘My House’, a no-nonsense groove designed to hold and control the dancefloor. ‘My House' locks in from the off, sitting firmly in the pocket with commanding synths, hooky vocal interjections, and chunky low-end weight, while smaller details dart around the groove to add splashes of momentum.
In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states.
Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s impulsive, textural excess, that friction here appears to dissolve in favour of a more homogeneous mass. Noise, far from its most abrasive edge, is reconfigured as a continuous field — dense yet permeable.
Within this flow, melodic structures emerge without assertion, surfacing almost incidentally as by-products of the accumulation of frequencies itself. The result is less a reconciliation of languages than a blurring of their boundaries: a space in which intensity is internalised and the radical gesture folds into a more sustained, contemplative mode of listening.
Welcome back, hope you've had a good trip so far. While we're digging global tunes, let's not forget what's cooking in our own yards. No less then a new dub don has risen from the wastelands of bratwursts, nutcrackers and garden gnomes: Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solarpowered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!
Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.
Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.
Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!
The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers
The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.
Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.
Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.
Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.
On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.
The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.
All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.
Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.
Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.
In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluoriscence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff & Nancy Hennings or Nada Himalaya's Deuter.
Designed for her 5 Hour extended sets and refined on dancefloors worldwide, "Can't Stop Loving You" - out today on slash - captures KI/KI's signature nostalgia-meets-future sound. Self-written and produced, it's an emotive trance burner built for peak time joy, unity and release, a sound that has defined her rise across global rave culture.
"Can't Stop Loving You" has become the closing moment in KI/KI's 2025 sets. From her Radio One Essential Mix, her two 5 Hours at the Woolstore, Melbourne - the only artist to ever do two back-to-back - to her AMF headline set to 40,000 fans at the Johan Cruijff ArenA! "Can't Stop Loving You" has been the emotional closer all year long.
On the track KI/KI says:
I wrote this track during the biggest heartbreak of my life. Back then I was working on music for my liveshow, and needed a track to close the show with. Can't stop loving you was the result.
Every note, every sound, every vocal helped me through how I was feeling and listening back now reminds me that eventually things will be okay again. The song evolves from an emotional track to an optimistic 172bpm banger and this perfectly describes my process - and maybe the story of almost every heartbreak?
This record is living proof to me that music can be healing. I hope it does the same for you
In just a few years, KI/KI has become one of the most exciting and influential voices in electronic music. She's sold out 20,000-capacity shows and graced the cover of DJ Mag. In 2026, she'll headline London, Dublin, Belfast, Paris, LA and NYC - all selling out in minutes.
With new music coming and her fanbase surging, "Can't Stop Loving You" now closes both her sets and her year - the emotional full stop on 2025 before an even bigger 2026.
By 2005, Drugsex Recordings had firmly established its own identity within the Tech House scene, providing a platform for deeper, sounds for the heads and also could further push the peak-time cuts for the era. For the label's fourth release, founder Rob Pearson teamed up with Chris Pascoe. Pascoe’s distinctive style had already earned him recognition through a string of acclaimed underground releases and Rob & Chris kept meeting through the underground party scene so friendship and collaboration were a natural step.
The collaboration resulted in One More Time, a beautifully balanced meeting of two production styles. Combining Pearson's trademark rolling grooves with Pascoe's musicality and deep, understated funk, the track perfectly captures the stripped-back sound that defined the best of mid-2000s UK Tech House.
On the flip, Rob Pearson takes centre stage with the solo production Shadow Maker. Deep, hypnotic and effortlessly understated, the track showcases the signature South London sound that became synonymous with both Evasive and Drugsex Recordings—tight percussion, warm analogue textures and an irresistible groove built for long nights on discerning dancefloors.
Techno pioneer Thomas Schumacher celebrates 25 years of his groundbreaking track "When I Rock” with a stunning remix by trailblazing DJ and producer talent. A.D.H.S.In 1997 Thomas Schumacher broke new ground with the release of "When I Rock," a track that defied genre boundaries and captivated listeners across the globe.
With its unprecedented blend of raw Hip Hop energy, infectious Rap vocals and relentlessly driving Techno rhythms, "When I Rock" marked a watershed moment in electronic music history. By infusing the track with his signature touch, A.D.H.S. maintains the essence of the original while seamlessly integrating contemporary sounds and production techniques. The result is a remix that captures the essence of the past while propelling it into the present.
To top it off Thomas’ adds a fresh remix of the Uber-Classic that is “House Of House” by Cherrymoon Trax. Essential.
Back after its first release, Life Enigma returns for a second chapter: a dark and warped dispatch from the void.
This time, the London-based artist of many aliases Zuul takes the reins, exploring moodier territory at the low end of the frequency. The result is three slow-burning, horror-flecked cuts that sit somewhere between electro and new wave, each driven by a sinister vocal. The release is rounded off by a more dancefloor-oriented remix from C.ru.z on the B2.
On the A-side, My Mind Is Mean is a driving, sub-heavy opener with menacing synths that do the title justice. It's Hell In There, It's Horror shifts into something more melodic and upbeat, with eerie textures and an ominous undercurrent.
And when we thought things couldn’t get any meaner, Ask Me sinks into haunted, mid-tempo bass hypnosis on the flipside, while C.ru.z’s remix leans further into its darker side with an even nastier groove.
This is the very limited marbled vinyl version of the repressed Lords of The Null Lines EP.
Here we have the beautifully remastered Foul Play and Foul Play ft Randall remixes of Lords Of The Null Lines. There is little to say about these definitive classics that has not already been said. You know ‘em, you love ‘em, they are essentials. However, the Danny Styles remixes are perhaps deserving of some explanation. There were created in the early 90s, and were cut, but quickly stopped by Moving Shadow as they were not really official remixes. A few test presses got out, and the result has been these remixes reaching a near mystical status in the passing decades, and the vinyl changing hands on discogs for absurd prices.
So it was with great pleasure that Hyper-On Experience and myself managed to broker a deal with Moving Shadow and Danny Styles to bring these amazing remixes to a legal and official release! It took over 25 years, but they can finally be bought...
By 2005, the Rob & Si partnership had found its stride. Working from Online Studios in Croydon, South London, Rob Pearson and Simon Copleston (Iteration X) continued to refine their unmistakable take on underground Tech House, combining deep rolling grooves with crisp percussion and slick production skills.
Originally released as EVA015, Just Add Water was pressed as a limited white label release during a period of distributor changes, meaning it never received a full release at the time. As a result, original copies have become highly sought after by collectors over the years, regularly changing hands for premium prices whenever they surface on the second-hand market.
The EP features the unmistakable Original Mix, alongside an alternative interpretation from each producer, with the Iteration X Remix and Rob Pearson Remix offering their own distinctive twists while staying true to the stripped-back, rolling sound that defined the era.
More than twenty years on, Just Add Water remains one of the hidden gems from the early Evasive catalogue and a snapshot of London's underground Tech House movement at its most authentic.
Formed in 1969, Soul Media set out with a clear mission to fuse jazz and rock. That approach took a decisive next step with In The Groove, recorded in 1973. Here, the sharpness of jazz is brought to the forefront, rock elements are dissolved and refined to give a cutting edge, and funk is injected to add drive, elasticity, and physical force. The result is a body of music that transcends existing genre labels—jazz-rock, jazz-funk, or fusion—and stands instead as something simply, undeniably cool: strong yet sophisticated.
This album is often described as Soul Media’s response to The Crusaders, a band that saxophonist Jiro Inagaki was paying close attention to at the time. The aim hit its mark. With In The Groove, Soul Media acquired a “refined black feeling”, setting them firmly on the path toward their ultimate destination: Funky Stuff.
The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.
A year or two back, original Nottingham deep house don Gavin Belton (famed for being part of Smokescreen and Drop Music-adjacent duo The Littlemen) returned to the UK after living in New Zealand. One thing led to another and soon he was back in the studio alongside former creative partner Steve Lee for the first time in 15 years. Featuring heady spoken word vocals from Hector Moralez, the result is 'House For Change', a lightly electrofunk-fired slab of classic East Midlands deep house. Raising funds for homeless charity Help The Framework, this surprise EP also includes 2004 classic 'Tell Me' (a free party deep house classic) and two fresh reworks: a TB-303-bass-driven revision of 'House For Change' by their old pals Inland Knights, and a squelchy, spacey take on 'Tell Me' by Lee under his solo alias, Positive Divide.
Top-notch Synthwave/Italosynthhorror on a sexy flexy, reworked by Aipd Q41/B47.
The two tracks were composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.
To recreate it as faithfully as possible, pdqb reconstructed the track from memory - using a self-conducted cognitive interview, instructing AI exactly how it had to sound.
The original conditions no longer exist: no broken synths, no absurdly long cables, no direct-to-tape chaos, no instant flexi pressings.
So every flaw, limitation and imperfection was carefully re-introduced - by design.
The result sounds nothing like the original. Except that it does.
Marc Cotterell has been going about his business with great style in recent years. The Plastik People boss leans into the old school soulful house and garage house scenes for his inspiration and updates those foundational samples with plenty of musicality as well as club-ready rhythms. This solo outing kicks off with the impossibly infectious 'Keep Pushing' with its angelic vocal tones and rich piano chords all overflowing with catchy, feel-good vibes. 'If You Still Love Me' has the same irresistibly joyous results, but this time darts about with a touch of US garage swing and some vibrant horns. 'Boogalou' closes with a more knotted, funky bassline. Brilliantly accessible but sophisticated stuff.
UK pals Andy Riley and Laurence Ritchie have been Drop Music mainstays since before the turn of the millennium. They put out a veritable ton of house music and this EP first dropped back in 2004, but has long been ripe for a reissue. 'Already' sits somewhere between tech, new jack swing and deep house and is assembled from chopped-up samples, jazzy stabs and a rigid mix of drums that all get held together with a warm, swinging groove. 'Amber Gambler' on the flip is another collage made from distinctive patches - gun shots, MJ vocals, crashing hits, wiggy synths, minimal percussion and bursts of synth strings. The result is a busy, characterful groove that never stops grabbing your attention.
Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.
An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.
Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions.
Talking about the album, Jhauk has strong opinions:
“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context.
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves.
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.
Emotional Response presents Volume 2 of the LNS-ID series. Atmospheric, infectious, at times nostalgic, warm yet ghosty, the tension of Laura Sparrow’s music is her exploration in electronic music.
An introduction to DJing and music production has been a natural progression, applying skills in new and fresh formats. Built on the heritage of Chicago and Detroit house, alongside old IDM and electro, her first productions might have been raw, but the creativity was lit.
While her recent productions have explored club orientated, loud cut records, in collaborations with DJ Sotofett, that represent the sound found in her residency on the Globus floor at the Tresor club, LNS’s interest in the solo productions of the LNS-ID recordings and more organic-style explored in the recent Misiats EP burns bright.
LNS-ID 1 and LNS ID 2 are her latest offering. Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Roland TR-606 and TR-808.
Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.
Easygoing Acid Express, Alive Acid, Blue Acid and Gentle Acid. Get the message. We call it Acid.
Emotional Response presents the first of 2 EPs by Laura Sparrow aka LNS, the Calgary raised, Berlin based producer and DJ with 8 acid-tinged cuts that are equally expansive and inspiring, personal and inventive.
After her debut Malinge Range (cassette) on fellow native Canadian 1080p label in 2016, LNS moved to Berlin and has released a steady stream of 12”s, exploring ambient, dub, electro and techno. Initially appearing on Vancouver émigré’s Jayda G’s (alongside Fett Burger) Freakout Cult label before settling at DJ Sotofett’s cult WANIA label and more recently on the legendary and ‘original’ German techno label, Tresor.
A love of the Roland TR-303, alongside deep diving into breakbeat creation, manipulation, mutation and production, plus some intrepid mixing and post-production assistance, development and support with DJ Sofofett, have led to a collection of some of her favourite music to date.
LNS-ID 1 and LNS ID 2 are the result. Recorded during a burst of creativity through dedication, new studio equipment and learning techniques, as well the necessity of artistic expression in the moment.
Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Rolant TR-606 and TR-808.
Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.
Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.
An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.
Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions.
Talking about the album, Jhauk has strong opinions:
“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context.
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves.
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.
The arrival of REAL, Vol. 1 marks a seismic shift in the global music landscape, uniting two of Nigeria’s most formidable forces for a project that defines the current zenith of Afrobeats. This collaborative effort sees Wizkid, the smooth-talking pioneer of the genre’s international expansion, and Asake, the "Mr. Money" whose neo-Fuji sound redefined the street-pop aesthetic, finding a middle ground between luxury and grit. The project serves as a sonic bridge between eras, blending the minimalist, high-fashion sensibilities of Wizkid’s recent output with the high-octane, choir-backed energy that has made Asake a household name. It is less of a competition and more of a conversation between two masters of their craft, exploring themes of spiritual gratitude, the weight of superstardom, and the unyielding pulse of Lagos.
With soundscapes both cinematic and deeply rhythmic, the production moves beyond standard club formulas, opting instead for a sophisticated fusion of traditional Yoruba percussion, shimmering synths, and the heavy, resonant log drums of Amapiano. Wizkid provides the effortless, melodic swagger that acts as the project's anchor, while Asake injects a spiritual intensity through his signature layered chanting and rapid-fire flows.
Ultimately, REAL, Vol. 1 is a celebration of authenticity in an era of global crossover. By stripping away the pressure of conforming to Western pop standards, Wizkid and Asake have created a body of work that is unapologetically Nigerian yet universally resonant. It captures the spirit of a city that never sleeps and the ambition of two artists who have conquered the world without losing their souls. This is more than just a collection of hits; it is a blueprint for the future of African music, proving that when Wizkid and Asake occupy the same frequency, the result is nothing short of legendary.
“Twenty-five years into their existence, The Album Leaf are an old comfy sweater. It might not be the most fashionable thing in your collection but it always feels good when you put it on. Jimmy LaValle’s synth textures are warm, nostalgic and steeped in Boards of Canada / Ulrich Schnauss-style soundscapes that are relaxing, otherworldly and melodic” – Brooklyn Vegan
The Album Leaf shares his new ambient LP, Rotations. The record is a mediative experiment into atmospheric sound. Creator Jimmy LaValle explains, “This collection of music is a true reflection of my creative process—rooted in sound exploration, experimentation, and spontaneous response. Each track captures a moment of creative discovery, free from the pressure of achieving a polished result. Throughout my career, I’ve often placed significant weight on what an album should be. With this release, I’ve let go of those expectations to share a body of work that feels genuine and authentic.
The Album Leaf began as the solo project of Jimmy LaValle, who came up in the San Diego music scene playing in hardcore bands and the instrumental rock band Tristeza. He had inked a deal to release his next solo album through the indie label Tigerstyle Records, so he put the modest advance towards a self-recording starter setup, building out the sound with occasional studio access. The music that emerged — vivid, rhythmic, soaring instrumentals guided by lines of Guitar and Rhodes — not only set the path for The Album Leaf over the next two decades of acclaimed releases (for Sub Pop, City Slang, and others), it became a touchstone for the next generation's wave of melodic and meditative electro-organic music.
French ambient composer Franck Zaragoza continues the evolution of his Ocoeur project, moving beyond intricate sound design and beat-driven constructions into expansive, cinematic, beatless terrain.
On his eleventh album, Greener Grass, Clearer Water, Zaragoza deepens the eco-ambient themes introduced on 2024’s Breath, shap-ing a work that feels both intimate and quietly monumental. From its opening moments, a sense of stillness takes hold.
The album unfolds like a series of vignettes, glimpses of an unspoiled world rendered with clarity and restraint. These are not nostalgic visions but speculative ones, reflecting what the natural world might yet become should humanity alter its course.Rather than delivering overt statements, Zaragoza allows the message to resonate through atmosphere and tone.
The result is a subtle but persistent undercurrent, an awareness of fragility and of beauty at risk. In this way, Greener Grass, Clearer Water becomes less a warning than a quiet invocation, drawing attention to what stands to be lost. It is an arresting and finely balanced work, positioning Ocoeur at the intersection of ambient, neoclassical, and cinematic drone with renewed focus and purpose.
The Bug and Ghost Dubs relentlessly probe and atomize original material culled from Kevin Richard Martin's critically acclaimed 'Sub Zero' album. ("Monolithic and unforgiving, even by the Bug’s standards, representing his most suffocating take on ambient dub yet." Pitchfork)
Remixed to punish sound systems and freeze up the dance, both Fiedler and Martin trade fresh, contrasting blows, after their recent IMPLOSION face off album on PRESSURE last year. (Dub/Reggae album of the year, 2025, in 'The Wire')
The resulting 4 remixes are every bit as hypnotic and persuasive as you would hope for from productions fresh out the soundlabs of Michael Fiedler aka GHOST DUBS and Kevin Richard Martin under his dancefloor destroying Bug alias. Both producers intensify the desolate mood of the originals but introduce demolition inducing beats which provide the literally irresistible momentum. Echoes of the originals are respected and heard throughout, but the extra gear shifts pay off brilliantly.
Guaranteed to push serious air, and test the most powerful of sub woofers, these 4 remixes vary from heavy to superheavyweight. i.e. GHOST DUBS outputs a deliriously stoned headnod with his zonal refix of 'When I'm Gone', which miraculously sounds both subtley mysterious, but monolithically huge, whilst The Bug prowls ice cold, on the noirish, narcotic, instrumental hip hop of 'Too Human', which sounds like prime Mobb Deep mixed by Rhythm & Sound' at 16 bpm.
Essential remixes of an already very special album, the original atmosphere is not only captured expertly, it is categorically amplified. LARGE.
RAW SOUL returns with its twelfth release, welcoming Hamburg-based producer, multi-instrumentalist, and creative force FRAG MADDIN - also known as BERUS and FMN - to the catalogue.
Across four tracks, Maddin channels the energy of live improvisation straight into hardware, capturing each take in the moment before refining the best parts himself and passing them on to mastering engineer Matthias Heinstein for the final polish. The result is a tightly focused, floor-ready record: deep, cavernous basslines, raw drum programming, and a sound firmly rooted in the spirit of original Chicago house while remaining fully present in today's underground.
Since 2012, FRAG MADDIN has been active internationally, releasing on respected labels such as Kerri Chandler's Madhouse Records, DVS1's Mistress Recordings, Glasgow Underground, and Snatch! Records. As an artist, he moves fluidly between groove, experimentation, and cross-genre expression - something that also shines through in his projects BERUS and FMN.
A standout moment on the EP is "Excuse Me," on which Maddin provides his own vocals - unfiltered, direct, and perfectly placed in the mix.
WRWTFWW Records announces the return of Louisiana-based composer and producer Jammin’ Sam Miller with A Link To The Past Tribute, his homage to the music of Zelda (A Link To The Past). His remake of the classic video game score is available as a limited edition green vinyl LP with artwork and sticker sheet by French illustrator Pierre Thyss, as well as an obi strip.
Originally composed by the legendary Koji Kondo, the epic 1991 Zelda soundtrack for the Super Nintendo Entertainment System is one of the most celebrated pieces of video game music ever, a sound that will automatically bring fans to a complete state of pixelized nostalgia bliss.
Jammin' Sam Miller entirely remade the soundtrack from scratch, note by note, without sampling any of the original audio. He recorded his cover versions by finding the original equipment used to create the score, translating the MIDI into a modern studio context, adding his keyboard sounds, and re-mixing and re-mastering the whole soundtrack with modern techniques. The result is a new experience of vintage Zelda music in full HD uncompressed glory and blessed with the beloved Jammin’ Sam Miller touch!
Eric Cloutier's career has always been defined by a certain kind of relentless, monastic discipline. With My Friend The Abyss (PALINOIALP01), Cloutier continues to bridge the gap between the selector and the creator. The album title itself suggests a reckoning with the internal-a realization that time is the only distance between an artist and their masterpiece-resulting in a body of work that feels less like a collection of tracks and more like a hard-won transmission from the deep.
Forged in a crucible of stress, chaos, and loss, the LP eschews the easy loops of his earlier output for a far more complex architecture. While Cloutier's signature hypnotic pulse remains the bedrock, the record expands into a startlingly broad lexicon: the dub-wise weight of "Havittaa" and the tribal intensity of "Desassossego" sit alongside moments of fragile ambient beauty. Perhaps most surprising is the inclusion of "Ligrothism," where Cloutier explores the broken rhythms of drum and bass, proving that his obsession with "Palinoia"-the Greek term for perfecting an act through obsessive repetition-has led him to a place of total creative fluidity. This isn't just club music; it's a masterclass in atmospheric tension.
A label compilation can be the first sign of a new cycle. After years shaped by individual trajectories, it brings the focus back to what made scenes powerful in the first place: shared language, mutual influence and a sense of collective movement.
For a label built on deep rhythm, organic textures and emotional drive, this carries an even stronger meaning. These musical spaces hold connection, memory and exchange at their core.
In this light, a compilation becomes more than a format: it becomes a statement of identity, a meeting point where different voices contribute to one evolving vision.
Following the previous chapters, “MoBlack presents: COLORS OF INDIA” marks the third instalment in the series. Built around hypnotic percussion, evocative vocals and textures inspired by Indian tradition, the collection moves between organic groove and club energy while maintaining a strong sense of atmosphere.
Rameff – “Ferena” opens the collection with rolling percussion and warm melodic details, establishing a hypnotic atmosphere that naturally sets the foundation for what follows. From there, Bull&Jems – “Asha” brings a brighter sense of movement, introducing expressive vocal textures and rhythmic lift while keeping the groove connected to the same organic pulse. The mood then becomes more immersive with Rameff – “Bondhu”, where repetition and subtle melodic shifts create a steady build in tension without breaking the flow of the journey. Closing the selection, Hefty (CA) – “Taka Dum” injects a more playful rhythmic energy, tying everything together through percussion-led movement and a vibrant late-night spirit.
With “COLORS OF INDIA”, MoBlack adds a new chapter to its compilation series, bringing together cultural references and club-driven energy through a shared rhythmic language. The result is a collection where tradition and contemporary interpretation meet naturally on the dancefloor.
Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.
The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.
I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.
Life In Patterns welcomes Amsterdam-based live act and producer VNTM for his debut appearance on the label with “Ostbahn”, a five-track EP arriving on vinyl and digital formats on 24 July 2026. For VNTM, Ostbahn marks a departure from his usual creative process. While most of his productions are conceived and developed within the familiarity of his studio, every track on this release originated elsewhere — each one tied to a specific place, encounter, or moment beyond its walls. These external sparks became the foundation for a collection that feels both deeply personal and unmistakably geared towards the dance floor. Across the EP, VNTM explores the intersection of emotional depth and physical intensity. Dark, immersive pads and melancholic atmospheres are woven into powerful techno frameworks, driven by heavy low frequencies, tightly locked grooves, and a precise sense of movement. The result is a body of work that balances introspection with impact, equally suited to peak-time systems and solitary listening. Based in Amsterdam, VNTM has established himself as one of techno's most distinctive live performers, appearing at major festivals and clubs worldwide with a hardware-focused setup dedicated entirely to his own productions. His sound combines harmonic exploration and narrative-driven composition with distorted percussion, futuristic sound design, and a constant embrace of emerging synthesizer technologies. Beyond his performances, VNTM is the driving force behind the acclaimed Mindscape events at Amsterdam's Lofi, where he has hosted artists including Len Faki, Kangding Ray, Sterac, Âme, Recondite, Polygonia, Luigi Tozzi, Vril, and JakoJako. Recent highlights include his debut on the Awakenings Festival Mainstage, an all-night-long live set at Lofi Amsterdam, and a sold-out debut performance at Refuge in New York City. With “Ostbahn”, VNTM delivers a compelling first chapter on Life In Patterns — a release shaped by experiences beyond the studio, translated into hypnotic, emotionally charged techno built for deep immersion and maximum physicality.
Powerful, exhilarating, and refreshing. Whether exploring deep modal jazz or basking in the warmth of calypso-infused jazz, every note is delivered with uncompromising conviction. Here, the essence of Ryojiro Furusawa reaches its fullest expression.
From the 1970s through the 2010s, drummer Ryojiro Furusawa was an active force not only in jazz but across the broader Japanese music scene. His music, marked by unmatched individuality and overwhelming power, is free-spirited yet unwavering, rugged yet inviting, and endlessly captivating.
Among his many achievements, his masterpiece Racco stands as the most complete representation of his artistry. Every composition on the album is an original by Furusawa, yet each piece reveals a distinct musical character. One moment, he delivers a beautifully crafted ballad; the next, he unleashes a dynamic burst of funky jazz. Just as the listener settles into a deep modal jazz groove, he effortlessly shifts gears, wrapping the music in the gentle warmth of calypso rhythms.
The album is eclectic, but never unfocused. Its diverse musical elements are tied together by Furusawa's unwavering vision, with every idea pursued boldly and to the fullest. The result is a listening experience that feels consistently invigorating and rewarding.
Powerful, exhilarating, and refreshing. Few musicians, and few albums, embody such a joyful sense of freedom and vitality. Racco is where the artistry of Ryojiro Furusawa reaches its peak.
YARN Records proudly presents its 9th vinyl release, born from a special connection made in 2025 at the Rat Camp private gathering in Bulgaria. There we met the NOTYOURTYPE crew and shared a vision of capturing the spirit of that unique experience on wax. The result is a collaborative record featuring tracks from Enivrèz Vous, Dryspirit, Jarzz, and GAZ (Getsu & Zlatin) — a collection that reflects the creativity, friendship, and underground energy that brought us together.
Patchwork Inc. is a multi genre music collective based in Chicago. Inspired by the intricate and repetitive patterns on a quilt, deep grooves are stitched together with vibrant threads of analog synths, fat bass, Fender Rhodes, and a plethora of percussion to form a uniquely personal piece of art. "Whatever Makes You Happy," comes on like one of those unseasonably warm days in late fall. Flute, synth, and congas flutter like a cool breeze before giving way to a sunny and sultry hook. North Carolina native Taylor Williams brings a D'angeloesque vocal to a Roy Ayers style instrumental resulting in a mosaic of neo-soul and jazz-funk. The record's flipside evokes more of an idyllic fall day. The kind of day where you can throw on your favorite jacket and endlessly stroll down a tree-lined path as amber leaves fall to the ground. Chicago journeyman and musical prodigy Wyatt Waddell effortlessly layers his voice over the backbeat of "Last Forever," resulting in a medium-fidelity banger that could be confused for a I Want You-era Marvin demo.
For their fourteenth installment, FELT look once again to their city of Copenhagen, specifically to more alumni of the Rytmisk Musik Konservatorium (Rhythmic Music Conservatory). Following soon after Ginte Preisaite’s debut for the label, this long player from Vincent Yuen Ruiz is a grand departure from Preisaite’s experimental electroacoustic pop compositions, instead offering an elegant and pensive suite of late-night, wide-eyed ambient jazz works centred on piano, double bass and percussion; “I seek a dramaturgy of restraint, where silence, space, and collective attention become structural elements of the music.” (Yuen Ruiz)
Originally forming in Copenhagen in 2019, the group's language sits at the crossroads of contemporary jazz, improvised music, and experimental sound practice and deploys a non-hierarchical collective approach. Taking harmonic cues from Bach and Ravel but expanded into a dialogue between players that is repetitive, spacious and informed by minimalism as much as ECM chamber styles, the resultant four pieces move between precise formal structural rules and spontaneous improvisation. Silence and restraint is as important a device as timbre and unity. The group are concerned with dispelling the traditional jazz trio model, e.g. three unique displays of virtuosity, instead exploring how each player may help add to the overall emotive atmosphere the use of ambient space provides. To borrow a quote regarding the hard to classify music of Czech duo Irena & Vojtěch Havlovi, this interplay strikes at times like the shadows contrasting with the light.
More intimate than Yuen Ruiz’s Le seul salut que je connaisse (2021), an album recorded with a 6-musicians ensemble, this latest album Trio continues the composer’s research and moves towards a more focused, condensed writing style and a clear statement of intent.
For their first release, it was pretty obvious for Hypnophone to give a new life to an all-time favorite but forgotten project : GLO. Released in 1995 on CD’s only, « Even As We » is the first and last album of the duo, composed of Stephan Lewry and Gilli Smyth, both ex-members of the legendary rock band GONG and pioneers of psychedelic music.
This double LP, carefully handcrafted and redesigned, is the result of a lovely 2 years collaboration between Hypnophone and Stephan. A cosmic, unique masterpiece, who also features a new thirteen minutes track, specially produced by Stephan while remastering the album in 2025. In the dear memory of Gilli ♡
Note: Includes two printed inner sleeves, transparent red vinyl and an A5 insert.
Metrica Recordings presents its third release, marking the label’s first various artists project. The record brings together Memoryman aka Uovo and Dj Rou from Bologna together with Neg, Marco Spinetti and Franz Di Maio, the label’s owners. The result is a journey across house and electro vibes, where different influences blend naturally into a shared identity.
Vertice Di Convergenza explores the intersection between two rhythmicarchitectures. The sub-driven asymmetry of UK bass and dubstep blends thehypnotic cyclic motion of Dutch psy–IDM trance. Both share a focus on low-end design: basslines as structural anchors, kicks tuned to harmonic tension andpercussive spaces engineered for negative pressure. The result is a sonic plane where mechanical precision meets psychoacoustic flow.
Inweys is the new project from Scottish musicians Conal Blake (Feedback Moves, Domestic Exile, Infant Tree) and Murray Collier (Dip Friso, Grim Lusk, Real Landscape). Their debut self-titled 12’ was recorded in the summer of 2024 at La Chunky Studios in Glasgow.
They asked Fielding Hope of Counterflows Festival to write a short summary of the record:
“Inweys debut release arrives as four pieces of broken body music. Lurking, barely human fragments brought into the present. Using a short drum-machine improvisation as core material, the pieces are formed from a processes of mining and re-mining for small details, with each fragment zoomed in on and turned into new pieces. There’s a transformation taking place, but one that doesn’t obscure the materiality of the recording tapes as sticky, corrosive matter. On skewed and stretched fabric they enact their palimpsestic play, sketching and altering the grid with itchy technologies. What their edits and improvisations don’t say they let space say the rest, with vacuum aerated frames for bass to diffuse and beats to wriggle. More King Tubby than Cage, more Mantronix than Reich: minimalism with molten tips.
Both Conal and Murray’s past work has embraced malleable and iterative technologies; music whose feeliness figures itself out in space in a messy precomposed/improvised dialectic. This is the sort of thing most “new music” experimentalists (or anyone who spends most of their time obsessively manipulating tapes in expensive studios) often can’t achieve; a liveness, birthed from learning in situated play. Like the lore of Phuture’s Acid Trax, a poverty of material is at the heart of this, rendering the work with an abortive conviction: a corpse waking to consciousness becomes amphibious. Instead of the composer we have a relation, two people navigating the awkward spooling between the two reels of tape. Inweys is scots for “inwards”, and in their working process this is what they do. But the result is circular motion. Until the tape runs out, all in ways move out.”
Bristol's Sam Binga & Addison Groove have been friends and collaborators since their 2013 'BS3' EP, released on Modeselektor's '50 Weapons' imprint. This project, the third full-length on Binga’s Pineapple Records, is born from an intense 72-hour session at the legendary Devon Analogue Studios, where the pair were able to explore their mutual love of uptempo machine funk - whether that be Detroit Jit, Chicago
Boxjams or Turbo Electro.
Three days of intense creativity across classic drum machines, vintage analogue synths and rare hardware effects resulted in a collection of raw but powerful audio building blocks - and over the past two years, the pair have been gradually shaping them into what is now a complete project - the BAGS INC album. Across 12 tracks, Binga & Addison explore that exciting space between 140 and 150 bpm - but while it's fast, it's not 'hard'; as you'd expect from the creators, it's still got that wiggle, and the all-important cheekiness for which they're known.
Mastered by Bob Macc @ SC Mastering and cut at the Sony plant in Europe,, the album has immersive and musical detail to warrant deep listening, while maintaining that essential club energy.
Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.
Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.
Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.
The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.
Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.
Rain Dance is the debut album from Bristol-based producer Arcane, released on Over/Shadow. Across eight tracks the record explores atmospheric jungle, drum & bass and breakbeat influences, combining deep bass pressure with rich melodic detail and immersive sound design. The album moves between expansive, journey-like pieces such as “Nebula” and “Metropolis”, heavier dancefloor cuts like “Underground” and “Fear", resulting in a spacious but rhythmically detailed LP that balances classic junglist energy with a cinematic sense of atmosphere.
Applying the solid structures of floor-focused Berlin techno to the expressive space of introspective electronica, Answer Code Request returns to Delsin with his first album in eight years. Halo finds Patrick Gr?ser broadening his sound palette more than ever before, matching atmospheric synthesis with dynamic beat constructions true to his impressive legacy while breaking new ground. Across Halo, smoky clouds of pads and chords lend the album an introspective quality in the grand tradition of ambient techno. In front of these haunting melodic forms, Gr?ser is free to explore all manner of rhythmic directions. There are fractured, downtempo micro beats and angular fractals on the likes of 'Fading Shadows' and 'Refraction' that take their cues from breakbeat -- finely detailed drum sequences constantly evolving into new arrangements. A pointed nod to D&B rears its head on the aptly named, hard-edged 'Fracture' and you might hear a firmly submerged hint of ravey acid coursing under 'Sublith'. Elsewhere, the firmer kick-anchored pulse of the classic Answer Code Request sound manifests for more forthright techno excursions such as 'Halo' and 'Bliphar'. In the context of the album, though, these tougher tropes are channeled into mesmerising soundscapes that soften the attack without diminishing the potential for club impact. In this era of his craft, Gr?ser moves instinctively through the sounds and approaches that inspire him, and the end result is an album that feels natural and open, all the while steadily progressing the ongoing evolution of Answer Code Request.
Last year Ace Records were delighted to reissue The Brides of Funkenstein’s debut LP from 1978, “Funk Or Walk”. Featuring their hit single ‘Disco To Go’, this album put the Brides on the map and sold strongly.
Before sessions commenced for a second album, Lynn Mabry left the group before sessions commenced for a second album, leaving Dawn Silva alone at the altar. George Clinton added P-Funk backing singers Jeanette McGruder and Sheila Horne to the mix, creating a three-pronged vocal attack.
Sessions featured the cream of the P-Funk players including keyboard wizard Bernie Worrell, bassist Bootsy Collins and guitarist Garry Shider. The resulting album, released in 1979, was even better that their debut.
The title track ran for over 15 minutes on side one, showcasing the vocal and musical prowess of all concerned. Other tracks included ’Party Up In Here’, ‘Smoke Signals’, ‘Mother May I?’ and the gorgeous ballad ‘Didn’t Mean To Fall In Love’.
Although it did not spawn a hit single, “Never Buy Texas From A Cowboy” sold as strongly as “Funk Or Walk” and over time has been hailed as a classic P-Funk album.
With liner notes from Ace’s Ian Shirley, we are delighted to release it on orange vinyl and CD. You don’t need your mother’s permission to buy it either.
Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.
Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.
Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.
Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.
The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.
‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.
Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.
Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.
Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.
Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.
Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.
Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.
'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.
This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.
Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.
Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.
In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.
Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.
ORANGE - Limited Edition! SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.
SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.
Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work.
Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve.
Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno. Opening track, Ascent, traverses the space between ambient and techno; second track City Of Luz almost fades into itself across its twelve minutes before Transmutation brings around a reawakening with a beat that would not have sounded out of place on an early Rephlex or even a Sähko release. Final track on the 12”, Growth Cycle is fittingly a re-version/re-vision of a track on the Existenz LP; Robert Owens’ soulful vocal now Stefanie Parnow's floating Siren-like voice with music that feels reborn: fresh, strong and insistent. The digital pack contains two further tracks, the deep electro of November 29, as well as Rubedo, a spacial ambient track that feels like the final glowing red embers of a fire turning to ash as the sun rises to reveal a new, golden dawn.
Aeternum (Existenz) is the final chapter of the soundtrack to Function’s spiritual awakening, the closing of a door and the clearing of a path. It’s a sonic manifestation of the Magnum Opus completed, a moment of total integration, where the leaden weight of the journey is finally perfected into the incorruptible gold of the spirit.
It is dedicated to John Mendez, aka Silent Servant, Sumner’s dear friend and lifelong collaborator.
Produced after a period spent alone, surrounded by the elements of nature, this record brought Katatonic Silentio back to her essence and her roots. The result is a dedication to the dancefloor through the genre she first became involved with, and to the music itself as the conductor of her whole life; an ever-changing entity of the essence of the soul; a bridge to the unknown and the depth of existence. A luminous voyage in the profound lightness of sound. Far from being an intellectual exercise, the album - the first club-oriented release by Krisis Publishing - is a physical and spiritual journey. This one is for the body, mind and soul, so that there may be harmony between the parties, between the inside and the outside, between the self and the other.
JKS is back on his own imprint with Temples, opening a different chapter of his sound. Across three original tracks, he explores a more melodic and expansive direction, while keeping the raw rhythmic energy and distinctive percussion that have always defined his productions. Processed instruments, playful synth lines and organic textures come together with a sense of openness and curiosity, always anchored in movement and groove. Alongside the originals, three remixes by Aloka, A Strange Wedding and Olympe4000 extend the scope of the release. Each artist brings their own sensibility to the project, reinterpreting the material in their own language and broadening the spectrum of both the record and the imprint. Together, they highlight different facets of JKS’s influences while keeping a shared sense of drive and tension. The result is a collection that balances movement and emotion, precision and spontaneity. Deeply rooted in the dancefloor, yet unafraid to venture beyond familiar boundaries, the release captures an artist and a label continuing to evolve while staying true to their core.
With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.
In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."
Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.
Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."
Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.
Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.
The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.
Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.
"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.
Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."
Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.
Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".
Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.
For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.
This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.
ABOUT LOBE MON AMI
Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.
The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.
ABOUT EKO ROOSEVELT
Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.
Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.
Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.
In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.
Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.
Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The 'vivid contemporary sounds for a fresh visual image' make up the now canonised Synthesis from Alan Hawkshaw and Brian Bennett. These two greats go deeper than usual on this collection, and the end result is a synth concept record of sorts. Released in 1974, it's an essential companion piece to
their Synthesizer and Percussion LP, released on Themes International Music in the same year.
Like most of our favourite library records, Synthesis has that gloriously funky, 'weird electronic music' vibe without ever being inaccessible. With the awesome ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape that, whilst laid back in all the right places, somehow remains heavy on the funk. It's a sort of throbbing, proto-G Funk sound and you can fnd it on many of these low-lit basement workouts.
Take the ice-cool 'Alto Glide'. It's a sunset-funk highlight with an electro-fute refrain that conjures those dreamier Dre / DJ Quick instrumentals from '91 to '92.
Stereolab, Koushik (again) and all those Ghost Box artists were clearly listening very closely in the years since. The equally relaxed 'Mermaid' glides efortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths.
It's a really beautiful piece.With these two soft-focus closing tracks allowing the LP to foat away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm
section to back the synth overload. Highlights include the head-nod funk of 'Getting It Together' and the synth break in 'The Executive', which informed classic video game soundtracks.
For once Be With really is stuck for words to describe just how good this record is.
Best just to listen. As with all ten re-issues, the audio for Synthesis comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
Who, or, what, exactly is a Matured Sinner? In this case it's the result of a meeting of both minds and bodies between Swedish producer Johan Blende, freshly relocated to Athens, and fellow Eskimo artist and native Athenian NTEIBINT. Between the decidedly weak minds of succumbing to night time activities and day time regret an idea was born to create the best Greco-Norse creation since ABBA stole a bouzouki and used it shamefully for the best part of Mamma Mia (OST ?).
"I took one of my half-baked beats to George (aka NTEIBINT) to see what he could add to it and voilà - Mist 9000 was born!" explained Johan. Now complete with pulsating analogue arpeggios, a throbbing bass line and increasinglydistressed synths all writhing together in composed ecstasy that dance floors are made for, the track that emerged from George's studio left them hungry for more.
Returning to the studio, it isn't long before the song that would give this new project its name emerged. Created with the help of a friend Olga on backing vocals and an unnamed, equally sinning, young lad, Matured Sinner paired hypnotic disco beats, sinuous synths, squawking sine waves and almost queasily blissful sighs with a cautionary tale of drugs, flying saucer cults and a spiral deeper and deeper into sin and moral ruin.
Was it enough? It was. But then the third one came around, mainly by sheer want to continue, lingering like the third child of a marriage running out of ideas. Shall we keep going? "Of course we shall, this is our gift to the world!" Like a modern day cult, Bright Bum was conceived in a non-sexual context from leftover sounds after a nightof confusing creations and not necessarily tender compliments in an equal manner, chugging synths squelching their way over a mesmerising guitar loop as bright stabs cut through the humid funk of the track's insistent rhythm which, like all good nights out, increasingly fray at the edges as it rolls towards oblivion. Nobody requested it but like the nature of humanity itself, it must keep going.
Three musicians, three worlds: raga, jazz, and their own imagination. East, West, and the fusion in between. Rhythm, melody, and harmony. Past, present, and future.With 3, Ragini Trio experiences a rebirth - after years of deep exploration into long-form ragas, South Indian Carnatic traditions, konnakkol, and Western jazz.Thirteen years after their debut, this album stands as an homage to both worlds. By refusing to play things "as they should be played," Ragini Trio finds the in-between space - that magnetic tension where jazz and Indian classical music meet and transform each other.
Inspired by the traditional Indian trio of tabla, flute, and tanpura, Ragini offers its mirrored jazz response: drums, saxophone, and double bass. The result unites jazz, which seeks freedom within structure, with raga, which seeks structure within freedom. Far from purism or imitation, Ragini Trio crafts a living dialogue between rhythm, melody, and tone colour.
And it's a statement. Bursting with energy, depth, and self-irony, 3 is a vibrant antidote to the algorithmic recycle-music of today and tomorrow - born from the chemistry of three exceptional artists: saxophonist Nathan Daems, drummer Lander Gyselinck, and double bassist Marco Bardoscia.
This is not a Ben Vida, Booker Stardrum, and Will Epstein record; it’s a Play Time record. That’s a subtle but important distinction, for a couple reasons. One, the sound of Magic Object—a polymetric blend of improv and pulse minimalism for saxophone, drums, and Moog—doesn’t really sound anything like any of their many other ensembles or respective solo projects. And two, it was only while making Magic Object, their debut album, that Play Time realized they were a band at all.
Let’s back up. The roots of the trio date to 2020-21, when Will and then Booker moved to the Hudson Valley, where Ben was already living. The three got into the habit of playing together at Ben’s house, and they soon realized that their hang sessions felt fundamentally different from making music in some falling-down studio in Bushwick. Where those experiences were rushed and cramped, a new sense of time and space now suggested itself. Where once they rat-raced the music, now they relaxed into it.
Early gigs yielded similar revelations. A booking at Tubby’s, the beloved Kingston venue, evolved into a kind of residency. Tubby’s is a small space, fitting around 100 people, with a bar in the front room and a stage in the back. Play Time decided that they didn’t want to play on the stage; they wanted to play in front, among the people in the bar. Rather than hogging the spotlight and overpowering the other voices in the room, they blended with the energy of their surroundings and emerged as a sort of minimalist-jazz-krautrock bar band.
Gradually, they discovered a newfound “elasticity”—Ben’s word—that reshaped the music from inside. “It’s this communal thing,” he says. “It’s vibes. And it’s embedded in the community up here, which feels really vital and nourishing.” They were jamming, but it wasn’t just a free-for-all; they found themselves listening to each other in new ways. “Ben and Booker joke that they’re always playing in different time signatures,” Will says. “We’re all going forward with our own ideas, but we’re open to each others’ as well, and they’re all sort of dancing together.”
“We all have our painterly solo projects,” Will says—where, Booker adds, “we do a lot of studio arranging and thinking and composition that takes shape over a period of time.” Play Time, on the other hand, is all about being in the moment. That spontaneity was key to the process of recording the album. They booked two days in their friend Joey’s studio, a converted wooden barn. “It’s just a live room,” Booker says. “There’s no separation or anything. So we’re all in the space together and it’s got this beautiful, woody sound, and that’s very much the sound of the record.” For two days, they just jammed, for seven or eight hours each day. When it was over, they went through, edited down the portions they liked, and added very judicious overdubs designed to enhance the original recordings without fundamentally altering them, staying true to the spirit of the sessions.
The result is something like a snapshot and a mission statement all rolled into one. “You’re hearing us discover the voice of the band in real time,” Ben says. “We finished those sessions and we were like, ‘Oh, that’s what our band sounds like now.’”
Now, with Magic Object, the rest of us get to find out too.
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Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.
“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.
Five Special were a five-man harmony vocal group all from Detroit, formed during 1975. Founding members Mike Pattillo of ‘The Explosions’ and Steve Harris of the group ‘Trouble’ both unhappy with their then situations decided to unite to form their own group. They were soon to be joined by Zeke Stanley of “Deep Velvet”. As a threesome, the sound they created was fantastic but they all agreed a five-man group with five potential lead singers was the way forward.
It was around this time that Mike Pattillo’s lifelong neighbour Ron Banks (of The Dramatics’) introduced the guys to Charles “Chuck” Underwood. Chuck had been involved in the music business from the early 60’s as a show promotor, one of many acts he promoted was The Dramatics. Chuck had known the group from their earliest days and later became their road manager. After a failed attempt to buy the Dramatics contracts from Groovesville Music, Chuck pressed ahead with his plans to form T.E.A.I Record Corporation (T.E.A.I being an abbreviation for “Tellin’ Everybody About It”) with Ron Banks joining the label in an executive role only. This young and aspiring record company sprung into production during 1974 with initial releases on a local artist’s Renee Williams “Special To Me/Are You My Brother”, followed by ‘The Gaslight’ “Just Because Of You/It’s Just Like Magic” in 1975.
Now under the auspice of Chuck, Mike, Steve and Zeke were introduced to Greg Finley formerly of the ‘Innovations’. Now four, the quest for a fifth member continued. After months of disappointing auditions, Ron Banks decide it was time for his younger brother Bryan to embark on a professional career after initially resisting due to him being a 16-year-old school boy. After many daily rehearsals in each other’s respective basements until Bryan’s graduation the full and dynamic sound of these five young men was finally honed. Still nameless, it was Steve Harris that came up with the group’s name ‘Five Special’ stating that these five young men were “very special and unique entertainers, with each member being a complete show in himself” with Bryan on lead they sometimes sounded like “The Dramatics” with Mike they sometimes sounded like “The Temptations” high comparisons indeed.
Five Special’s first recording for T.E.A.I was the 1976 joyously uplifting dancer “The More I Get To Know You” a Jimmy Roach and Marcella Henderson composition featuring Bryan on lead, released as a part I and part II deemed to be a more disc-jockey friendly practice at the time. The record was popular with radio stations throughout the Detroit metropolis and Chuck went on to precure a deal with Polygram which resulted in a release on their nationally distributed Mercury label. A second Five Special release followed in 1977, the Jimmy Roach penned mellifluous “(Let’s Stop Making) Small Talk” backed with the Ron Banks/Paul Clark penned psychedelic soul styled “Oh, Oh (Look What We’ve Done)” with Greg Finley and Zeke Stanley exchanging tenor and baritone parts throughout.
Through our ongoing working relationship with T.E.A.I we have gained access to some previously unissued material on Five Special. From the tapes we have taken “The More I Get To Know You” in its 5:50 minutes entirety backed with the previously unissued mid-tempo delight “You Got To Be The One That I Love” with interchanging leads from Bryan and Steve. The second b-side track is the psychedelic soul “Oh, Oh (Look What We’ve Done)” with interchanging leads between Greg and Zeke. Three songs, three different styles all of the highest quality, with more to come from Five Special, so watch this space!
In the beginning of the 1970’s, Guinea-Bissau was a country broken up into many ethnic groups and at the heart of a war for independence. By reviving traditional musical genres as Gumbé and singing in guinean Kriol, José Carlos Schwarz & Cobiana Djazz established an immediate affective bond with their audiences. Through its music and politically engaged spirit of the lyrics, the band played a significant role in shaping the social and political consciousness of the masses. As well as influencing local bands like Super Mama Djombo and giving back a deep sense of cultural identity to bissau-guineans.
The explosive birth of Cobiana Djazz brought about other kinds of detonation. Schwarz became involved in urban guerilla activities which resulted in several bombings in the centre of Bissau, leading to his imprisonment and torture. He remained in lockup for a total period of about 2 years, between 1972 and 1974.
The process of decolonisation, in the wake of the Portuguese revolution of 25 April 1974, led to the recognition, during the same year, of the sovereign nation of Guinea-Bissau.
Schwarz, a key figure in the fight for independence, played an important part in the transition to the democratic regime, profiting from his popularity as an artist. Soon, his criticism (underscoring opportunism and irresponsibility in high places) became a thorn in the side of the political elite. Uneasy with the disquieting effects of his work, government officials effectively separated the author from the masses by assigning him to the embassy in Havana.
José Carlos Schwarz met a tragic and untimely death at the age of 27, when his plane crashed on arrival at Cuba's José Martí International Airport, on May 271th 1977.
Hailed by african giants like Orchestra Baobab, Letta Mbulu or Miriam Makeba (with whom he recorded his first and only solo album), “Zé Carlos” and his poetry won a lasting position in the annals of Guinea-Bissau. However, this collection of songs remains relatively unknown outside the country and its diasporas.
We are proud to offer, in close collaboration with the Schwarz family, this first official reissue on vinyl. Remastered and pressed on heavyweight vinyl.
G76 returns to Playedby with a one-sided EP "L5S1" after his debut LP "A World Without Mirrors". The producer is known for a distinctive approach to sound that results in a very original work of art.
"L5S1" represents a part of the spine that is typically subjected to excessive biomechanical stress. The track links emotions in an associative, algorithmic manner with the vulnerabilities of the producer, which are revealed in sonic narratives.
Struggling with severe back pain while in the studio, the producer translated the voice of his physical suffering into arrangements that are arresting. The chords that underpin them are equally insistent and immersive, deep enough to make you close your eyes but with a bass line that could keep a crowd moving forever.
Cote's influence on the imprint adds an extra artistic value to the release, as Playedby strives for a multidisciplinary art vision. The audio is complemented by a special visual support, as the vinyl is fully printed with a stylized, noisy L5S1 MRI scan on its blank surface.
It's clear why Playedby curated this one-sided EP. G76, whose new release already feels like a classic, has reaffirmed his status as an artist to keep an eye on.
Returning from an 18-month hiatus, Companion resurfaces with its long-awaited ninth offering – a six-track EP that beautifully distills the label’s devotion to patient tempos and deep immersive moods. The Garden is the result of a remote, cross-border dialogue between London and Belfast: a project born from a seasonal fatigue with the dancefloor and a collective turn towards our most inner states of being. The debut collaboration between Serenity Complex (Wigs) and Aika Mal, the EP is a meticulously detailed exercise in restraint, trading industrial harshness for a lush, subterranean hush.
The production breathes with a tactile, low-slung urgency: gritty, compressed drums and haphazardly recorded beatboxed percussion captured on a patio beneath the Devon sun provide a raw counterpoint to the EP’s cinematic sweep. Steered by narcotic basslines imbued with the brooding, early DNA of Massive Attack, these undulating pulses coil around the listener with a subtle, magnetic pull. They create a state of suspended momentum where tension never fully resolves and instead becomes the point of return. Aika Mal’s voice acts as a spectral anchor – mellifluous and transfixing as it moves in and out of each carefully curated element.
Drawing from the gossamer, reverb-drenched landscapes of Love Spiral Downwards and the gothic opulence of The Golden Palominos, the tracks lean into a slow, deliberate pace. Dub-influenced low end and trip-hop structures form the backbone, while fractured, gritty breakbeats bring a sharper edge. The release traces low-lit excursions into limerence, thriving in the heavy humidity of the afternoon just as easily as in the blue light of the pre-dawn or the apricity of first light.
The Garden celebrates togetherness by blurring two distinct artistic outlines into a single, prismatic whole. It is an invitation to submerge – a descent into the overgrowth.
Curated by Brian d'Souza (aka Auntie Flo), Plants Can Dance is a forthcoming new compilation bringing together a global community of artists, exploring the creative possibilities of biosonification - transforming signals from plants, ecosystems and the natural world into sound. Out June 26th, the project marks the culmination of several years of d'Souza’s work across music, ecology and technology.
The album arrives at a time when more artists are turning toward nature as both subject and collaborator, such as Brian Eno’s Earth Percent, which formally recognises “Nature” as an artist. Plants Can Dance sits within a wider cultural shift, which is redefining the relationship between sound and the living world.
The project builds on several years of work by d'Souza, whose Plants Can Dance events have taken place across the UK, Europe, India and Africa, appearing in institutions including the V&A, Tate and the Design Museum. What began as a series of intimate gatherings has since evolved into a global platform, reflecting a growing appetite for work that reconnects music with the natural world.
The compilation features contributions from leading practitioners including Modern Biology (Tarun Nayar) in collaboration with saxophonist Zekarias Musele Thompson, OMMA (Olga Maximovam founder of Playtronica), Jason Singh, Dr Helen Anahita Wilson, Justin Wiggan in collaboration with celebrated Norwegian jazz musician Arve Henriksen, Lamine Touré, Bit Marten and Balam, alongside new work from d'Souza himself. Using a range of tools - from commercially available devices to bespoke modular systems - artists translate electrical activity, environmental data and organic processes into musical material.
The processes behind each piece differ - from interpreting plant biodata to translating wind patterns into compositional structures - and the results are as varied as they are compelling. The record spans ambient, jazz, electronica and modern classical, yet all pieces are unified by a shared intent: to reimagine music as a space of collaboration between human and more-than-human worlds.
At the core of Plants Can Dance is a question about how we define music, and how we choose to listen. Traditional musical forms, with their fixed tempos and predictable structures, give way here to something more fluid and less easily controlled. The listener is invited to surrender expectation and engage with sound as an evolving environment rather than a linear narrative. In this context, the compositions function as what d'Souza describes as “acoustic ecologies” - sonic systems shaped by biological, environmental and elemental forces unfolding in real time.
Accompanying the release is a printed zine offering reflections from each artist, and deeper insight into the ideas and debates surrounding this practice. Rather than presenting definitive answers, Plants Can Dance positions itself as an artistic exploration grounded in curiosity, experimentation and critical thought.
Ultimately, Plants Can Dance is less concerned with proving whether plants “make music” than with changing how we listen. By inviting audiences to engage with sound shaped by non-humans, it opens up new ways of perceiving the environments we inhabit - not as passive backdrops, but as active, dynamic participants in a shared ecological network. In doing so, it offers a quietly radical proposition: that by listening differently, we might begin to relate to the natural world differently too.
Monaqee are multi instrumentalist / pianist Bencze Molnar and producer Jules Hiero.
Vanis is a bassist based in Budapest, deeply rooted in the city’s vibrant underground culture.
Bencze and Vanis are members of the jazz fusion group Jazzbois.
Being rooted in the underground hip hop and jazz scenes,the artists started this project to create a distinct sound, blending jazz, hip hop and lofi elements in a sophisticated way, that stands out from the crowd.
The only feature on the Album is from Domenico Lancellotti, a pioneer of Brazilian beat culture.
Robo Wars is a project born from three years of spontaneous sessions in Budapest. Over this time, the trio captured their best moments, weaving them into a smooth tapestry that blends jazztronica, hip-hop, and lofi beats into an analogue experience. Driven by electric bass, drum machines, and an arsenal of synthesizers including the Prophet, Juno, Moog, and the new UDO designs, Robo Wars feels alive, raw, and deeply musical.
Each track breathes improvisation:
Most of the material was captured live during jam sessions, with only minimal overdubs. The result is a project that preserves the spirit of freestyle creativity, much like a true jazz performance, later sculpted into structured songs by Jules Hiero.
The collaboration between Luca Trevisi (LTJ Xperience) and Christian Lisi continues.
The Bolognese DJ and producer is known in the Dance world for his Funky and Nu Disco sounds, including tracks
like "I Don't Want This Groove To Ever End" and "Bad Side," featuring American singer Anduze.
He recently composed the soundtrack for the documentary about the legendary Bologna nightclub Kinki (where he
was a resident for years), and the upcoming double vinyl album, "Original Soundtrack: The Secrets Of The
Dancefloor." For their second release, Trevisi and multi-instrumentalist and producer Christian Lisi are joined on
vocals by Danny Losito, lead singer of the Double Dee (Found Love) project, and Kaigo, an artist who has been releasing international House, Soul, and Funk projects under his own name for years.
"Keep It Real" is the result: a visceral and essential soul funk track with a driving groove that perfectly complements
Danny's voice.
The 180-gram vinyl mix is released in a limited, numbered edition of 300 copies.
Globally adored Spanish techno protagonist Indira Paganotto releases her debut album 'Arte Como Amante' via ARTCORE / PIAS Électronique. It brings together thirteen fearless tracks that stretch way beyond any one genre. It's high-pressure, high-energy, and deeply personal. A full-spectrum dive into the world of one of electronic music's most dynamic artists.
It follows a huge 2025. She debuted at Coachella. Played her first ever b2bs with Armin van Buuren at Sonar and Sara Landry at EXIT. She became the first woman to close Monegros. She held down her first Club Room residency at Hï Ibiza for 14 weeks, and even launched her own creative studio space, ARTOPIA, in Santa Eulalia. Her label ARTCORE the home of this special album also took their presence in the dance world to the next level with their own curated stages at Tomorrowland, Mysteryland and Dreambeach.
Now, she's telling her story. The title 'Arte Como Amante' means 'art as a lover'. For Indira, that's not just a phrase. It's her life. This album has been 14 years in the making. It began in Madrid in 2012, when she was 19, and was completed in 2024. She waited for the right moment. She lived life. She collected experiences. She built the sound. "I know to take 14 years to make an album seems crazy," she says, "but without living those experiences, how could I have made the music about them?"
The result is a diverse, adrenaline-fuelled body of work that hits hard and moves deep.
he all-time house music legend Roger Sanchez drops his brand new studio album ‘Spectrum’ - his first in twenty years. Previewed by three high-energy bangers - ‘Grinnin’ (with Fedde LeGrand), ‘Come My Way’ and ‘Temptation’ (with Low Steppa, featuring Ragdoll) - the record features the new focus track ‘How Do We Say Goodbye’, a collab with Karen Harding.
The globally celebrated and Grammy-winning DJ, producer and label head has been working on the album for years, much of it during his time in Shoreditch which has informed its euphoric UK summer sonic influences. But its diverse tracks reflect a spectrum of sounds, from pulsating club tracks to dancefloor fillers, through to more emotional moments and atmospheric elements. Lyrically it’s also the result of translating his personal experiences into song.
Roger says, “I’ve been working on this for the past six years, so it’s definitely a labour of love. During that time I got the chance to travel around the world and work with some amazing vocalists and songwriters to help me bring this project to life. I’ve got flavours from the UK, Spain, the US - all of this is part of the spectrum for. This project is about music and frequencies and light: so everything from the light to the soulful to the club-ready infrared, the emotionally-weighted ultraviolet. That’s what ‘Spectrum’ is all about for me.”
The new focus track ‘How Do We Say Goodbye’ was created with the topline extraordinaire and always in-demand collaborator Karen Harding, whose all-star credits include work with MNEK, Armand Van Helden, Rudimental, Wilkinson and many more. It’s a massive highlight of the album, with Karen’s soaring vocal class bringing both an irresistible hook and a touching sense of nostalgia, while Roger’s dynamic production ascends from a trance-like ambience into an electrifying drop.
Beyond the singles, ‘Spectrum’ also features a diverse array of other talents spanning multiple genres and nationalities. These include Melanic C, Kele Le Roc, Chico Castillo, Kelli-Leigh, Carnao Beats, Donae’O and more. It’s a guestlist which lives up to the anticipation for the record.
‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.
Uncompromising Italian DJ/producer The Southern makes his vinyl debut on Mutual Rytm's sub-label, Spectra, with remixes from Alarico, Temudo and Sciahri. An EP marking an impressive label debut, Carmine Portarulo, aka The Southern, lands on Mutual Rytm’s sub- label Spectra with a powerful showcase of his much-loved sound. With the lead track featuring as one of label head SHDW's most requested IDs of the year so far, and packaged alongside outstanding remixes by close label associates Alarico, Temudo and Sciahri, the EP comes having established himself with a sound rooted in old school value and pure techno, favouring energy and authenticity over hype. The track’s backstory comes from the moment Carmine and his partner found out they were expecting a child and went for their first ultrasound appointment. Overwhelmed by the emotion of the moment and the beauty of what nature is capable of, he returned home and poured those feelings into the music. The result, ‘Ultrasound’, is an anthemic, punchy techno cut with euphoric energy rising up through the synths and its catchy lead melody. Joyful melodies sparkle amid vocal groans, adding a raw emotional pull as the warm, driving drums march on. Berlin-based artist Alarico is the first to remix on his return to the label, and his ‘Sad Mix’ has a more melancholic mood, with dark chords and tightly programmed drums that bring lo-key funk. Hayes Collective founder Temudo also returns and flips the vibe on his ‘Neuro Interpretation’ with a more psyched-out, twisted tune featuring trippy synths and booming drums for peak-time impact. Italo-Iranian Sublunar Records head Sciahri then drops his trance- inducing, hypotonic ‘Tunnel Vision Mix’, followed by two digital bonuses: ‘The Stripped Mix’, a bouncy workout with futuristic melodies, and Temudo’s ‘Neuro Interpretation 2’, which is raw, textured, and dark.
Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.
Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.
Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.
On the B side, a Roy Ayer’s masterpiece 'Everybody Loves The Sunshine' given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.
Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.
Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.
They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.
Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.
Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.
Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.
What they left behind were fragments.
Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.
Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.
Often, the trail simply disappeared.
What remained was intention.
Energy.
Urgency.
Hope pressed into sound.
So the collective worked on it.
They edited certain parts.
Extended others.
Cut what didn’t serve the floor.
Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.
The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.
Some circulated privately.
Others were never pressed at all.
Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.
This is not nostalgia.
This is unfinished business.
Rebecca Goldberg presents the release of her debut full-length album, Night City, a deeply personal and expansive body of work that reflects a decade of artistic growth, exploration, and connection. Produced and arranged by Goldberg, this album captures the evolution of her sound through years of practice, travel, collaboration and mentorship.
Including 12 tracks across a 2x LP, Night City draws from the rich lineage of Detroit electronic music. Goldberg cites influences from dystopian cityscapes and futurism to space exploration and the possibilities of technology. The result is a forward-thinking genre-spanning collection.
The album features two notable collaborations: “444,” created with Jnn Aprl and recorded in her studio in Seoul, South Korea, and “Tunnel,” featuring Detroit techno artist Tiptonaires. Each collaboration adds a distinct voice and texture to the record’s immersive sonic world.
Night City was mixed and mastered by Andy Toth, with album artwork illustrated by Mark Sarmel. A limited run of vinyl is available for preorder now, pressed at Archer Record Pressing Co. in Detroit. The album will be released on Detroit Underground.
At its core, Night City is an offering shaped by experience and guided by curiosity, marking a significant milestone in Rebecca Goldberg’s musical journey.
Belgian label De:tuned once again dives into the innovative world of Luke Vibert, reviving his legendary Plug moniker with 'Variety Magic', the first new Plug album in nearly 15 years.
For this release, Vibert unearthed and hand-picked a collection of previously unreleased jungle and drum & bass gems, sourced straight from his original mid-90s DAT archive. The result is an 11-track ride through the raw energy and playful experimentation that made his early Plug work so distinctive, all infused with Vibert's unmistakable funk and mischievous flair.
Variety Magic is vibrant, bold, and delightfully off-kilter. A colourful homage to an iconic era, crafted for both deep listeners and the dancefloor. Stay tuned!
Visualised by the Variety Magi. Stencil Art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.
Belgian label De:tuned once again dives into the innovative world of Luke Vibert, reviving his legendary Plug moniker with 'Variety Magic', the first new Plug album in nearly 15 years.
For this release, Vibert unearthed and hand-picked a collection of previously unreleased jungle and drum & bass gems, sourced straight from his original mid-90s DAT archive. The result is an 11-track ride through the raw energy and playful experimentation that made his early Plug work so distinctive, all infused with Vibert's unmistakable funk and mischievous flair.
Variety Magic is vibrant, bold, and delightfully off-kilter. A colourful homage to an iconic era, crafted for both deep listeners and the dancefloor. Stay tuned!
Visualised by the Variety Magi. Stencil Art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.
Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.
This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.
The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.
Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.
Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.
It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.
What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves which gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.
“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism
ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.
Navigators
Franco Falsini and the Interactive Test Universe
There are musicians who follow their time.
And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.
The Beginning: Machines, Tape and Space
In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.
The City That Never Sleeps
In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.
Tuscany, Early 1990s
At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.
The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.
The Laboratory of Identities
One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.
They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.
Domestic Machines, Infinite Worlds
Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.
Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.
A Hidden Constellation
Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.
Continuing the Journey
Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.
A line defined by exploration.
Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.
Interactive Test was one of its stations.
A laboratory.
A community.
A creative platform.
This compilation gathers some of its traces.
Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.
Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.
Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.
The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.
Borrowing from the melody of Rah Band’s “Electric Fling”, Stefano Breda’s cover version completely re-invents the theme into what came to be a “Afro Cosmic” classic. Not your average Italo Disco sound, the downtempo chuggy beat quickly got picked up by pioneering jocks in the cosmic scene. With plenty of silence in between transients putting the spotlight on the multiple percussive elements employed by the skilful drum machine techniques of Breda along with trippy electric wind instrument sounds, resulting in an overall aesthetic of highly unforgettable mediterranean dreaminess, take a deep dive into Breda’s instrumental bliss. This release is remastered and further embellished with yet another previously unreleased mix of “Electric Fling” which was recently alchemized by the artist himself — the “Long Afro Version” which goes in the bonus beat realm with another study in his percussive generosities.
A record that feels introspective and timeless, balancing dancefloor functionality. With Early Reflections Pt. 2, Insect O. continues the journey with the same quiet confidence and emotional depth that made the first chapter so compelling. Once again rooted in Dub Techno and Dub House, this second installment feels like a natural continuation, deeper in mood, even more immersive in detail, and beautifully refined in its execution. The result is a record that feels introspective and timeless, balancing dancefloor functionality with a deeply emotive listening experience. Insect O. proves once again that true depth does not come from excess, but from restraint, sensitivity and a strong understanding of space and motion.
Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.
Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.
Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”
Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.
The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.
“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”
Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”
Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.
Rhythms of postmodern realism at the very bottom of the DNO.
Danish producer Kasper Bjørke returns with a new release on Tropical Animals, the “Veri/Gliss” EP a work that fully captures his signature blend of cinematic depth, refined production, and forward-thinking electronic aesthetics.
“Veri” opens the EP as a richly layered and immersive experience. Built around an evolving tapestry of textures, the track unfolds through pulsating synths, shifting sonic details, and a steady yet powerful rhythm. The result is a truly intergalactic journey, where each element seems to orbit around a constantly transforming emotional core. This is Bjørke at his most visionary-bridging club functionality with intricate sound design in a hypnotic and expansive narrative.
On remix duties, label head Ricardo Baez reinterprets “Veri” with a sharper, more direct approach. Stripping back the original’s layered atmospheres, he delivers a driving electro version that’s lean, tense, and fully focused on the dancefloor. With its tight groove and immediate impact, the remix is built for peak-time energy and club intensity.
On the flip side, “Gliss” reveals a more intimate and emotive dimension of Bjørke’s sound. A modern electronic ballad, the track blends sensual rhythms with delicate, suspended melodies. Its subtle yet captivating groove carries the listener to an unknown planet, where everything moves in sync, locked into the same pulse and flow. It’s a piece that radiates both mystery and warmth, showcasing Bjørke’s ability to craft deeply atmospheric yet rhythmically engaging compositions.
With the “Veri/Gliss” EP, Kasper Bjørke and Tropical Animals reinforce a shared artistic vision where sonic exploration meets club-ready precision, balancing introspection and dancefloor energy, cosmic textures and physical groove.
Dario Rossi approaches electronic music like few others. His work as a percussionist has brought his unique rhythmic abilities to audiences around the globe. Born in Italy, Rossi combined percussion with samplers and synthesizers. His energy and talent have allowed these machines to be incorporated into his distinctive palette with very special results. 07Sep83 is his Bordello debut, with the title piece opening the four tracker. Beats cascade as analogue warmth laps the shore. Slow with a magnetic groove, elements of italo, wave and synth-pop intertwine to create a clean, bright sound that is at once familiar and totally unique.
Vocals arrive with “We’ll Meet Again.” Tempos rise while keys are emboldened by rich guitar strings. Lyrics counter with a melancholic tone that shifts into hope and fortified belief as melodies rise ever higher. The flip is “Lost.” Sharp drum patterns support notes that hark back to the majesty of Bobby O, the live sax by Augusto Pallocca and disco glory combining in this journey through genres. “Beat the Devil” closes. Sizzling from the outset, snares roll and snap. Rossi’s percussive prowess is on full display as synthlines flow over rhythmic ripples to the subtle and soulful strings that bring down the curtain.
Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.
On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.
The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.
Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.
NOREPRESS is a division of MixCult Records. Limited Edition.
Like a meteor striking earth, two forces hit each other. Merkelbach and Nathan Homan found each other in a shared vision in music, and this is the reason they’ve started the label Beau Brummel. Combine the two and you get the alias Merkoman. If you were to take a look at both of their agendas, you’d see Thursday crossed off because that’s Brummel Day. After two years of Thursday evening Brummel sessions, a big vault of music has been filled. The result is The Story of Brooks Pipe, a two-part story of a refreshing new sound that only Merkoman can achieve. In Part 1 you’ll find four tracks strictly made for all sorts of dance floors. An additional injection of creative artwork was given by Sjeng Schupp.
Ampoule's Pub returns with a fresh remaster of the classic 'Summer' and a brand new track titled 'The Fragile Root'
'Summer' was originally released 20 years ago on the Vertical Form label - a result of a multitude of completely live and improvised studio sessions, that gently swell and evolve over the tracks 16 minutes.
'Fragile Root' is a brand new track, think vintage idm - intricate rhythms and melodies crossed with massive dub chords.
LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.
‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.
The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.
Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.
‘Elevation’ is that record.
Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.
Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.
Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.
Balancing glitch-pop and contemporary piano, the Belgian pianist explores the edges of her voice, language and twisted electronica
The Belgian pianist and producer maya dhondt releases a new album titled 'wow, x', marking her debut solo album under her own name. Navigating between bedroom glitch-pop and contemporary piano, she presents sounds of alienating beauty.
The album ‘wow, x’ will be released on September 13 on vinyl and all digital platforms via VIERNULVIER Records.
“I find beauty in the uncomfortable and disorienting" - maya dhont
The first single, 'desire,' is a mutated synth-pop track that gets under the skin. The song centralizes longing for something you don't know (yet). Perhaps it's the smell of damp earth, which can be both pleasant and unsettling? The single is now available on all streaming platforms and comes with a schizophrenic video by Sakis Brönnimann.
The first release show is scheduled for Saturday, October 5, at De Koer, Ghent.
More shows will be announced soon.
A postmodern cramp, that's how one could describe the music of pianist and producer maya dhondt. Her music is an intuitive and a never ending exploration that has the potential to be and become a multitude of things at once.
On her first solo album under her own name, 'wow, x,' she presents 10 varied tracks in which she creates equally idiosyncratic sound worlds. She takes the liberty to endlessly experiment with vocals, piano, and a mix of distorted lo-fi electronic sounds with an open mind. The result is sometimes synthetic and weird, sometimes compellingly beautiful, and always captivating, drawing you into its underlying melody. These intelligently crafted productions are connected by a penchant for alienating beauty: like a warm, but damp cave where it’s pleasant to linger just a little longer. Her original sound moves within a sonic spectrum reminiscent of contemporary artists such as Lolina, Astrid Sonne, claire rousay, aya or Carla Dal Forno.
"What I create never stands alone, it can be many things at once"
If the world were a sculpture garden, maya dhondt eagerly picks from it to draw inspiration from both visual and literary passages as well as personal experiences. Her highly personal bedroom productions are grounded firmly in the world due to philosophical references and politically charged messages. And the world she lives in is being questioned on 'wow, x', as the title refers to "What Or Why?". This is evident in the single 'desire': "What is the thing that matters / to exist / or to know you’re existing?" What does one choose in life: to live in the moment or to live to remember that moment?
In the lyrics on 'wow, x', maya dhondt plays - at times childishly - with language and its boundaries. On 'tip toe tip,' banal wordplay leads to an unexpected confession, and the seemingly simple phrases in 'untitled' conceal hidden life lessons. dhondt's world of words is multilayered and multilingual: Dutch ('kleine cijfers, groot verlies'), English ('desire'), and French ('untitled') are at her disposal. And on the fierce track that is 'minimalinvasiv,' not only she turns to hardstyle, but also to German - a language dear to her due to her Swiss heritage.
Bailen Records presents “Planet Juno EP” by Rene Sandoval, a vinyl release where the swing and energy of tech house define the character of the record.
Raw drum machines and analogue sounds build a direct and functional sound designed for the dancefloor.
There is something cosmic in the momentum of the EP: mechanical rhythms moving with precision, bright sounds expanding into space, and a constant sense of motion. The result is tech house that feels elegant yet physical, deep yet direct.
The energy recalls certain golden moments of European 90s house: hypnotic grooves, warm harmonies and that perfect balance between club functionality and timeless musicality.
French producer Berzingue appears with a remix that pushes the material into a more modern club territory, reinforcing the harmonies of the original track and the overall dynamics of the EP.
Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.
The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.
In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.
MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.
With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.
Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.
Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.
Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.
With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.
The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.
Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.
Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.
The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.
Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.
Selekt Wax returns with its second vinyl offering, shifting the lens from introspection toward motion. Where its predecessor explored stillness and space, Varginha 96 leans into rhythm with a more fluid, tactile energy.
Loopedeville works within a minimal framework but pushes it toward something more animated. Groove takes the lead, while detail reveals itself gradually. The result is playful but controlled, built for movement while still carrying depth beneath the surface.
Inspired by the 1996 Varginha incident in Brazil, the record carries a subtle sense of the otherworldly. Not in a literal sense, but in texture. Unfamiliar tones, slightly off center moments, and elements that feel just outside of reach.
Etched on the sleeve, a poem sets the tone:
the analog moment is now
but, how? release
free form feelings finding
new places in yourself
a sort of synthesis
of interpretations
crash & collide
into the infinite groove of reality
but, is anything really real?
A1 – Varginha 96
A breakbeat driven opener centered on a looping vocal from the Varginha ‘96 incident. Off kilter synth textures circle the groove, giving it a subtle, otherworldly feel. Simple on the surface, with depth that reveals itself over time.
A2 – Varginha 96 (Ohm Hourani Remix)
Ohm takes it into a more stripped back, hypnotic space. Centered around the same vocal, the track locks into repetition and feel. Hazy, controlled, and built for late hours.
B1 – Thunders in Paradise
A driving groove built on dusty drums and a tightly controlled rhythm. It holds a steady pulse, with understated details and shifting textures giving it quiet depth.
B2 – Never Enough
A fluid, late night groove shaped by Loopedeville’s signature swing. Less driving than the previous cut, but still locked in, with warm tones and an easy bounce that carries through.
As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.
The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”
Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.
By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.
VA – Paradisi Artificiali brings together four distinct sound compositions, each resisting the urge to resemble the others but united by the way they manipulate perception.
Polygonia crafts shifting rhythmic paths where the groove warps and regenerates in real time, maintaining an organic tension that keeps the body in motion without ever truly settling into place.
Feral operates through subtraction, slowing time and excavating sound’s spatial depth. Its tracks don’t progress so much as they envelop, drawing the listener inward into a layered, introspective space.
Agonis introduces a more unstable, sensory thread, weaving transitions and accumulations that build in stages. Frequencies become tangible matter, and the progression unfolds without ever erupting entirely.
Crossing Avenue weaves these directions together without hardening them, infusing the record with a more rooted, almost ancestral rhythmic element that surfaces in the structure of the patterns and the choice of timbre.
The result isn’t a neat synthesis, but a coexistence. The tracks unfold along a shared line without ever converging, articulating a dynamic balance between tension and release. It’s an album that works through gradual alterations, through subtle slippages in perception, as in “Les Paradis Artificiels”. The point isn’t escape, but intensification. The sound burrows deep, reshaping how things are experienced, until a denser, more ambiguous, more alive reality emerges.
A sonic journey that feels both intimate and expansive, Inigo Lunani drifts between late-night introspection and dancefloor euphoria. The album blends minimal grooves and warm tones into a cohesive narrative that feels alive—constantly evolving, yet grounded in emotion.
Each track unfolds like a fragment of memory: hazy, rhythmic, and slightly surreal. There’s a tension between control and spontaneity, where tight percussive patterns meet playful, almost careless melodies. The result is music that invites movement but rewards deep listening—equally at home in a dark club or through headphones at sunrise.
Inigo Lunani isn’t just about sound; it’s about identity in motion. It captures the feeling of searching, of becoming, of existing somewhere between who you were and who you’re about to be.
Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.
What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? With the album SRDNG x LPZG, the duo AMAS, together with double bassist Frithjof-Martin Grabner, delivers a radical answer on May 15th, 2026. The work does not merely translate Bach’s legacy; it consistently reimagines it within the aesthetics of Minimal, Dub-Techno, and Ambient. The creation of this extraordinary abstraction spanned three years and two geographical poles: the raw isolation of Sardinia and the academic precision of Leipzig.
The project found its origin in the seclusion of Pula, at the southernmost tip of Sardinia. There, AMAS extracted and digitally dissected the rhythmic and tonal essence of 14 selected works by Bach. In a temporary local studio, these minimalist sequences fused with field recordings of the surroundings to form a hypnotic framework of electronic structures. Back in Leipzig, this foundation met Frithjof-Martin Grabner. In an intense session held in a hall of the historic HMT Leipzig, spontaneous improvisations emerged that breathe the spirit of Miles Davis’ approach to "Ascenseur pour l’échafaud": free play based on rudimentary sketches, an intuitive reaction to the material—comparable to Davis’ iconic scoring of silent film images. It is a deliberate prioritization of atmosphere over technical perfection. Grabner utilizes the full spectrum of his instrument, creating sounds that, in post-production, often blur the line between analog depth and synthetic texture.
The result is an organic symbiosis: the vastness of Sardinia (SRDNG) meets the intellectual density of Leipzig (LPZG), while the strictness of the Baroque dissolves into the repetitive energy of Minimal Techno. To do justice to this conceptual ambition, the album will be released in an uncompromisingly audiophile edition. Limited to 200 copies worldwide, the double LP is pressed on 180g vinyl and features a front cover with a special 3D effect, continuing the visual tradition of the AMAS series. An album for listeners who understand Bach as a living origin of modern sound art—and for lovers of electronic music seeking a new, organic soul within the repetitive depth of techno.
Molekül celebrates its 10 year anniversary with its most ambitious release to date. The label brings together 16 tracks from artists who have shaped its DNA over the years. This compilation looks to the future rather than the past and represents the result of a decade of exploration, forming into a sound that is built on multiple influences, raw, peaky and impactful. The release features peak-time cuts from BAUGRUPPE90, Mark Broom or Zisko, alongside a new generation pushing techno forward like KUSS & Sicion, Seigg and Fran LF. It also dives into more hypnotic territories with tracks by JKS or Hemka, and delivers loopy and effective tools for the dancefloor from Mython, as well as a new standout collaboration between Beau Didier, Flits and Isaiah.
After the release of the single “Egal” with singer Geraldine—the two Tuscan producers who met in Berlin—Lorenzo Fortino and Francesco Salvadori strengthen their friendship and musical connection in the studio with their first EP, “Friends Above Berlin,” released on the label Connessioni. The record opens with “Heide” (A1), which drops you straight onto the dancefloor with a blend of minimal house and acid that never lets go, a smooth mental trip full of groove. Next comes “Another Club Dimension” (A2), a track balancing house and techno, where a dominant bassline perfectly drives electronic drums, synthesizers, and ethereal vocals, resulting in a warm, elegant, and decisive sound. Side B opens with “Positive Attitude” (B1), a techno track with references to acid/progressive melodies, building continuously in intensity and emotional impact. The record closes with “Flying Through the City” (B2), where electro and acid sounds merge into a melodic journey with dreamy arrangements, making the track feel suspended beyond music itself, somewhere between past and future.
Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.
But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.
And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.
The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.
Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”
That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”
Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.
Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.
Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:
“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992
“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.
"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.
Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992
"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.
"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.
"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.
Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:
“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992
“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.
"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.
Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992
"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.
"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.
"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.
New Stand High Patrol album, featuring Joe Yorke, Nazamba, Jah Thomas - and remixes from Mad Professor, Androo & Jeanville.
Dub and House Music. Two aesthetics born in the shadows, shaped far from the mainstream music industry. Two underground cultures where independence is often a necessity and ingenuity is essential. Two scenes rooted in the margins of society, with dance, sound systems and minorities at their heart.
From the Jamaican sound system sessions of the late sixties, through the nights at Chicago's Warehouse, to the murmurings of the New York house scene in the early eighties — history shows that house, reggae and dub share far more than many people may assume. Collective action, resistance as a driving force, music moving straight from studio to turntable, shared messages: these are the threads that bind these landmark musical movements together. It is at this crossroads, driven by the spirit of experimentation that defines them, that the members of Stand High Patrol found yet another territory worth mapping.
"Skanking & Jacking", the new Musketeerz album, reveals a side of the Dubadub sound never heard on record before. Built for the dancers and for DJs, the LP brings together the pulse of house music and the vibrant groove of reggae. Uncharted territory, never interfaced like this before. The result of a meticulous blending of styles, house, reggae and dub intertwine across 12 extended tracks. The sound is carefully crafted. Built on immersive loops and interlaced with micro-variations that give it an organic texture. Born from the interaction between being and machine. This is not about simply bringing worlds closer together; it's about mobilising influences to chart a new sonic galaxy.
Beyond it's aesthetic statement, "Skanking & Jacking" also stands out for its international cast. The most extensive Stand High Patrol have ever assembled on an album. From England, Italy, Switzerland and Jamaica, the guest vocalists, producers and MCs deepen the sense of dialogue between cultures and styles. At the mic, Joe Yorke, Marina P, Nazamba and Jah Thomas join the Dubadub Musketeerz on their explorations. Each appearance subtly reshaping the contours of the project.
Never fixed, always in motion, "Skanking & Jacking" pays tribute to the traditions that shaped it and closes, as a final nod, with remixes from Jeanville, Androo and the legendary Mad Professor. The album stands as further proof of a crew that shows no signs of stopping its reinvention. Available on stream, digital and double LP on May 29th.
RAWAX proudly welcomes Art Department to the artist Family! We are thrilled to present you "Paper Cuts EP". This is the first vinyl release for Jonny White after 3 years and we couldn't be happier about this great result. This beauty will be out right on time for the Summer Season.
Highly recommeded!
Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry, arriving 12 December 2025. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation.
Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. It is a structure of structures, a logic of laws, an abstract unity embedded in the act of transformation itself.
Accordingly, the four-track EP reflects this duality. Each side opens with a piece of electronic music at its most precise and immovable: defined, kinetic, architectural. This is followed by a second composition that dissolves into a weightless, atmospheric counter-form.
The shift evokes a higher symmetry: an alignment not of parts, but of principles; a sonic model of the universe’s hidden invariance.
Metasymmetry also echoes across Dopplereffekt’s extended sonic continuum; this stands as the first offering on Tresor under the Dopplereffekt name despite an association with the label and club going back to the start. In this, it becomes the source of an echo that reverberates backwards through time; its own reflection:
New label Species hits the ground running with its debut release. The outlet is an extension of globally-renowned booking agency Pieces, and will feature music exclusively from the agency’s roster, which includes some of the scene’s most formidable and talented DJs and producers. The first release comes from an exhilarating project - Punky & The Brain, AKA Otis and Paul Lution. Described by the duo themselves as “scientific experiments” the music is a fusion of playful excursions with their lab equipment, and their musical knowledge.
Together they have been experimenting in the studio, merging incisive technical prowess with straight up dance floor-focused rhythms. Their field research has tested emotional variables on numerous research subjects through live performances in the most renowned clubs. A Fender bass guitar and vocoder bring another dimension to their studio exploits, and this EP is the result of their preliminary scientific findings…
Ataxia return to Planet E with two club-optimized cuts that capture their rolling, characterful approach to the authentic roots of Detroit's electronic culture. Marking the duo's return to Planet E following 2020's Oblivion EP, both tracks deliver energy tapped from a fundamental understanding of house and techno, equally charged with their punk and DIY background.
Immediately establishing a deep, hypnotic beat, 'The Whistles' expands into a collage of unruly samples that tour the club, the street and the true characters between. Playfully hinting at the tension between Detroit's party people and those who would like the music turned down, the track is a steamrolling club cut that finds Ataxia going wild with their most psychedelic studio trickery.
'Hocus On Pocus' is a tightly wound, punchy psychedelic wormhole of analogue FX and rubbery basslines, adding layers of pressure and surprising sonic twists. The result is an offbeat banger in the spirit of Planet E's wildest moments; primed for the dancefloor but with personality to spare.
Dissident Music presents TANGLED (DSMV001), a five-track Various Artists release exploring the meeting point between hypnotic techno and the raw physicality of contemporary Spanish techno.
Featuring contributions from RNGD, Joton, Sarf, DCM and Elias the Prophet, the record moves through sustained tension, organic texture sand direct-driven grooves while maintaining a refined and balanced identity throughout.
Rather than seeking contrast for its own sake, TANGLED finds coherence through friction itself: different sonic sensibilities intertwining into a shared language. The result is a living and intense record, designed equally for powerful sound systems and darkerclub environments as for more intimate listening spaces where detail reveals another layer of the experience.
The visual dimension reinforces the same sense of organicity.
The cover artwork originates from an original painting by Alejandro Alcántara, later digitalized and reworked by Jose M. Castro, creating a consistent dialogue between image and sound.
As the label’s first vinyl release, TANGLED reaffirms Dissident Music’svision: an independent cultural platform focused on sophisticated, honest and uncompromising techno.
Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.
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