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Following on from the highly anticipated Rebirth 20 anniversary project, Rebirth return with the first of two limited-edition bonus 12"s, digging deeper into the label’s catalogue with four killer remixes and previously overlooked gems.

Kicking things off with Leon Feat. Corrina Joseph – I Follow You (Darryl Baalki Remix), a soulful and deeply grooving house cut with Corrina Joseph’s beautiful vocals riding over a warm, hypnotic groove. Darryl Baalki adds his signature touch, making this one a serious late-night house weapon.

Next up is Gianluca Pegoiani Feat. Ann Saunderson – Numero 5 (Rough Ride) (Nick Holder Trackheadz Remix). Nick Holder’s Trackheadz take the original into deeper territory, delivering a classy, rolling slice of deep house with that unmistakable Detroit/Chicago-inspired feel.

On the flip we have Mata Jones & Mikey V – Funky (Elado Remix), bringing a more energetic and playful edge to proceedings with a seriously infectious groove, chunky drums and plenty of dancefloor funk.

Finishing off the EP is Psycho Radio Vs LC Anderson – Bad Reputation (Red Axes Remix). Red Axes work their magic on this one, twisting it into a dark, psychedelic indie-dance workout packed with attitude and hypnotic momentum.

Another essential selection from Rebirth as they continue celebrating 20 years of the label with some seriously choice cuts.

Limited Press — act fast!

DC Salas doesn’t do things by halves. Fresh off a June release on Enrica Falqui’s Plexus4, the Brussels-based producer wastes no time returning to his own Higher Hopes imprint and he’s brought a party with him.

Fiesta EP is a four-tracker with a split personality and zero apologies for it. The A-side is all business: Darkest Dream, already doing damage in Roza Terenzi’s sets and Consciousness lock in deep, hypnotic, and faster paced. Then the B-side happens. Fiesta Fiesta and Lost In My Memories raid the wreckage of new beat, proto-whatever and early 2000s electrohouse like they own the place. Fiesta Fiesta also marks fifteen years of DC Salas making music, celebrated, naturally, by vocodering his own voice and singing in Spanish.

HIGH005 follows Pixelated Dream Theory, which pulled support from DJ Masda, Ivan Smagghe, Evan Baggs, Enrica Falqui, Binh and many more. Back on home turf, no features, no compromises. Just DC Salas, in full.

DJ Support: Laurent Garnier, DJ Deep, Moplen, Tedd Patterson, Hector Romero, Quentin Harris, Jamie Jones, Danny Krivit and many more

Rocco Rodamaal puts his touch to 'More' (Danism + Train feat. Toshi) and delivers a deadly touch. Following on from ’Ndisole’ and ‘Mabele’, Danism + Train continue their regular collaborations with Toshi on 'More’. The original mixes dropped in the summer as the trio continue to explore a journey through afrocentric grooves. Now Rocco Rodamaal takes things in a new direction; maintaining focus on Toshi’s etheral vocals while adding deep, driving drums and a fierce baseline. It's a real pleasure to have one of our favourite remixers back on SoSure Music. Moplen adds stunning touch to 'Mabele' from Danism + Train. Reimagining the track as only he could with some tremendous additional production and new arrangement on Toshi's vocal.

For our Sophomore release, Solar Suite steps up with Back 2 Basics, four groove-led productions that favour restraint and subtlety. Stripping things back to the essentials with patiently crafted rhythms and basslines that could just keep on chugging. Club trax with one eye on the classics and the other fixed firmly forward.

Tehran-born Sohrab brings a unique mix of influences to the new outing on Iran-based label Shahr Farang. Vocals in Persian and melodies associated with Middle Eastern styles all colour his take on deep techno. 'Santouri (Sange Sabour)' kicks off with a throbbing rhythm and exotic strings that intertwine up top with wirey electronics. It's an intoxicating collision of cultures that also comes as a more direct instrumental. On the flip, 'Rise' is a jacked analogue workout with punchy kick and spangled bass locked in a wrestle as swung percussion and rattling chords all beef things up further.

Reissue of this italo classic with Flemming Dalum remix!

‘Some records are simply timeless. Some are pure magic. And some represent the very essence of what makes Italo Disco so extraordinary. Originally released in 1983, Harry ‘O by Noa-Noa is one of those truly unique Italo treasures.

Written by Guido Ranzani and Luigi Piergiovanni, this outstanding production combines a hauntingly beautiful melody with exceptional electronic arrangements, capturing the unmistakable spirit of the golden age of Italian electronic dance music.

It is both a huge honour and a personal pleasure for me to present my own interpretation of this extraordinary masterpiece.

The Flemming Dalum Remix stays faithful to the original vintage Italo atmosphere, while injecting fresh energy, more power and a contemporary electronic edge – without losing the magic that made the original so special.

And then there’s the Flemming Dalum Dub Version – taking things even deeper into Flemming’s dark signature underground sound. A powerful journey into hypnotic sequences, driving electronics and pure ELECTRO ITALO territory! This release is something truly special to me. Not simply another remix, but a celebration of the incredible creativity and musical vision that defined the original Italo Disco era.

And above all, a heartfelt tribute to the late Luigi Piergiovanni, whose musical legacy will continue to inspire generations of Italo Disco lovers.

Respect to the original. Passion for the sound. Keeping the Italo spirit alive.

Extremely proud and honoured to be part of this extraordinary release.
ITALO FOREVER!’

Flemming Dalum

Pittsburgh Tracks presents the second Cheek Inc. record - “Next 2 U” - a catchy vocal house record for summer. The collaboration between longtime friends keeps going.
The A1: original mix features a bouncy groove where the infectious vocal hook and shuffly drums keep everyone dancing.
The A2 “bang mix” amps things up with pianos, an energetic 303 lead, a build up, and subs that drop for maximum impact.
The B1 “club mix” is as it says on the tin: plenty of energy with a manic bassline, tight, stripped down rhythms, and a top-line melody that emphasizes the vocals.
The B2 “bass mix” features Sleeve’s STRIPPERTM bringing the heat with staccato beats, a twisting midrange vortex of sound, and plenty of darkness with discordant pads, where the stripped-back vocal punctuates to bring a bit of air at the right moments.

Recut and repressed

Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.

Jensen Interceptor debuts on Mesh with Primal Transmissions, an EP of five new genre mutations out Friday 25th September.

Moving through a spectrum of tempos - from smoked out slow burn to tightly wound club pressure - Jensen has a tweak for every BPM. Returning to a more raw, instinctive sound, but never losing sight of his flair for dense rhythmic compositions, the EP explores a moment of reconnection, and a shedding of inherited expectations.

‘False Oracles’ opens with a euphoric downtempo drift, setting the tone with microscopic rhythmic detailing and chugging percussion. ‘Fail to Call’ leads with a grimey bassline and frantic hammerdrill drums that gradually desync into chopped up fragments. ‘What Would Susan Do’ is a double dose of chaos, landing somewhere between dancehall, psytrance, and DnB, but firmly rooted on a planet of its own. ‘Tone Impress’ leans heavier into the industrial, chopping vocals over rolling hits at 160BPM. Rounding things off, ‘Emerald Web’ breaks the rhythms down to their rawest forms for one final workout.

Through a process of rupture and renewal, Primal Transmissions arrives as a sharp dispatch of club mechanics from one of the scene’s most inventive operators.

Some recordings herald the future in ways that are impossible to see in real time. Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር), by the artist Teodros Makonnen, also known as Teddy Mak, is one of those. Today, electronic sounds, synthesizers, and digital production are taken for granted in Ethiopian music, but in the early 1980s, they were novelties that polarized opinion. Even to this day, the story of Teodros Makonnen’s legacy has never been properly told. He played a decisive role in defining the sound of the digital era of Ethiopian music that emerged in the 1980s and beyond, both as a keyboard player and as a producer, songwriter, performer, and sound designer.

Ethiopian music was at a crossroads in the early 1980s. Much like music in the rest of the world, technology and automation heralded either a quantum leap in musical development or the annihilation of musicianship, depending on who you’d ask. The changes were incremental nonetheless, but with the benefit of hindsight one can clearly see that the changes meant different things in different contexts. Drum machines and electric organs came to replace many hotel bands because, all of a sudden, one musician could control drums, melody, and accompaniment. Teodros was one of the first musicians in Ethiopia to explore the possibilities this opened up.

Teodros’ father, Captain Makonnen Beri, was a chief pilot at Ethiopian Airlines and a music enthusiast at that. This would prove important to his development, as Makonnen brought back a piano from Germany, which would lead to the first steps in Teodros’ long musical career. Captain Makonnen’s work as Head of Flight Operations and as a pilot exposed him to the wider world that was far from commonplace for most Ethiopians. In a house where music captivated the whole family, the piano gave Teodros’ talent an outlet. Not only was a piano at home rare in Ethiopian households, his father also brought an Indian teacher to their home to teach Teodros and his brother, Captain Samuel Makonnen, music theory (solfeggio or ear training) and piano. Teodros and his youngest brother, the late great Dereje, a member of both the legendary Ibex Band and the Ethiopian reggae group Dallol, took up music from that point onward, with Teodros beginning to develop his proficiency at the age of eight. His father encouraged him to practice tirelessly at home, and Teodros later received musical schooling at the German School in Addis Ababa.

His obvious talent led to studies and formal education at the Yared School of Music, followed by continued studies in American jazz at Northern Virginia Community College in Virginia. Teodros cut his teeth professionally in his mid-teens, not only as a keyboardist, but also as an arranger for the Wabi Shebelle and Dahlak bands in the 1970s. He mastered electronic sequencing early, rising to prominence through the midnight recording sessions held during the military curfew. The pressures imposed by the curfew required precise and disciplined recordings, and Teodros delivered just that. This, in turn, led to collaborations with iconic artists such as Mulatu Astatke, Aster Aweke, Menelik Wossenachew, Tilahun Gessesse, Mahmoud Ahmed, and Alemayehu Eshete.

In those days, he sat in as a keyboardist with the Dahlak Band when Dawit Yifru took a hiatus to study in Russia, and also with the Ethiostar Band. He secured a residency at the Wabi Shebelle Hotel with the Shebele Band, together with Zelalem Tadese (drums), later succeeded by Elias Bekele, Mulugeta Hailu (bass), Teferi ‘Bibisha’ Mengesha (guitar), Kumelachew G/Selassie (trumpet), and Teshome Deneke (saxophone). A friendly competition developed between the bands associated with the Ras Hotel (the Ibex Band), Ghion Hotel (the Dahlak Band), and Wabi Shebelle Hotel (the Shebele Band). The music scene at Wabi Shebelle saw teenagers commanding the spotlight in an industry otherwise dominated by musicians of an older generation.

At the Wabi Shebelle Hotel, Teodros met a diplomat from Saudi Arabia and later visited him at his home in Addis Ababa, a meeting that had unexpected musical consequences. The man owned a Yamaha double-deck keyboard. That evening, they recorded Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር) in one take. This recording, a cornerstone in the early digital sound of Ethiopian music, came about almost by chance, simply because Teodros got the opportunity. Traditional Ethiopian songs were cast in a wholly electronic style.

Once freed from backing duties, Teodros’ keyboards could explore dreamlike soundscapes that took Ethiopian music in new directions. Even though the cassette contained well-known Ethiopian songs, they were given highly original arrangements, performed on an electric organ with drum machine backing and rhythm patterns that left the listener with suggestive, lingering sounds. “Libesh Kabashen” (also known as “Anchi Bale Game”) and “Odu Gol Golesa” wrap you in the very stuff that dreams are made of.

Originally released on cassette only, this recording exudes a mystique that surpasses even some of the most obscure Ethiopian recordings of the day. It remained more or less unknown outside of Ethiopia until now. Some of the tracks, like “Addis Fikir,” are permeated with an almost naive buoyancy, free-floating sounds that lost contact with the ground the moment they were conceived. Others, like “Meche New Hageren Yemayew” and “Lelitu Alnega Alegn,” carry a moodier, quirkier timbre, with pulsating rhythms in the background. Yet even the darker pieces contain an unmistakable wave, something essentially Ethiopian. If most recordings of Teodros’s contemporaries at the time were teeming with atmosphere, his songs seem instead at home in the stratosphere, almost ethereal. Some of the music here could be filed under “lullabies,” were it not for the recurring, almost brooding feeling that engulfs the listener on the aforementioned tracks. You could easily be forgiven for drifting into a blissful haze as the music washes over you.

Up to the advent of electronic music production, Ethiopia was totally dominated by big bands on the one hand, and small groups on the other. The former were tied to large institutions such as the military, the latter emerged from the entertainment industry, in hotel bars and nightclubs. These groups were commercially driven, and bands ultimately had to foster a mercenary approach to employment, albeit not to the passion for music. In the light of this, Teodros’ musical legacy can be seen in two ways. On the one hand, he is a key player in Ethiopian music from the 1970s onwards, leaving an indelible mark through hundreds of compositions and arrangements, including soundtracks for numerous documentary films and advertisements for different companies. On the other hand, the way he and others employed electronics brought Ethiopian music onto a fork in the road.

The replacement of traditional instruments with electronic equipment was seen as impending doom by some. Others, like Teodros, saw new avenues for performance, production, and creativity. Just as later producers like Abegasu Shiota of Admas, Teodros was a trailblazer who opened paths that it took Ethiopian music as a whole more than a decade to rush into. The hotel scene had already been pushed toward electronic music by financial necessity and cost-cutting. Today’s revived global interest in Ethiopian music from the seventies and eighties, alongside a broader resurgence, has changed the reasons for using digital means of music production. They have become tools for musical dreaming. This is where the dreaming began.

Boulderhead arrives on Haŵs with ‘Sunshine’ — four cuts that blur the line between club functionality and sonic experimentation. Twisting delays, playful FX work and endlessly shifting textures give the record a voice that's unmistakably his, pushing familiar forms into stranger territory without ever losing sight of the dancefloor.

The title track ‘Sunshine’ opens proceedings with a heads-down trip anchored by a cheeky, tongue-in-cheek vocal hook, swung grooves, and hypnotic momentum. Jorg Kuning steps up on remix duties, gently reshaping the original at every turn. His hardware-led approach keeps the groove in constant motion, each subtle shift revealing another layer without ever breaking the spell. Flip the record and ‘Moonshine’ strips things back into classic Boulderhead territory, while ‘Practice’ closes the EP on a deeper note, pairing lush synth work with beautifully detailed percussion for one final slow burn.

Never too serious, always full of character. The kind of record that keeps giving something new back with every listen.

Berlin-based Dutch-Italian composer and musician Aimée Portioli aka Grand River presents the new album Temporary, returning to the renowned Editions Mego label with her most expansive and focused LP yet.

Rooted in existential ideas of impermanence and flux, Temporary is a deeply emotive work centred on the rich interplay between resonant guitar work and innovative electronics. Written in the wake of profound personal grief and loss, the album sees Portioli infuse her music with a raw, expressive intensity anchored in this experience. Across eight strikingly melodic and affecting soundscapes, Portioli powerfully embodies a dramatic encounter with mortality.

Temporary reprises Portioli’s exceptional streak of material across acclaimed labels including Donato Dozzy and Neel’s Spazio Disponibile, Caterina Barbieri's light-years, Ghostly International, Tresor and Umor Rex. The LP represents the latest tour de force in her distinctive electronic practice. Alongside a raft of lauded releases, Portioli has devised visionary multichannel installations which dissolve the boundary between the art gallery and the performance space.

Her new album signifies a culmination of her work, imbued with the depth of Portioli’s artistry. Shaped by a paradigm shift rising from loss, the record reflects a contemplation of the human condition and the ephemeral nature of existence. Ruminating on the thoughts and experiences that have fed into the record, Portioli reveals a consequential recognition underpinning the record:

"Sometimes, when travelling in places far from home that I know I will most likely never return to, or while accompanying someone I loved towards the end of their life, I become intensely aware of the singularity of the moment, and of how precious and sad this feels at the same time. It carries a particular weight because it will never happen again in quite the same way. Through experiences like these, I have gradually come to understand the temporary nature of all things. They taught me that to live is to experience the present while already feeling the trace of its disappearance, something both painful and blissful." - Aimée Portioli, Grand River

The album is invested with a potent mood and momentum from the outset. Establishing an evocative tone with the subtle, pulsating synthesis, rustling undertow, and oceanic low end of 18 circles to heaven, Portioli gradually ascends through the incandescent modular majesty of Come to stay, and the turbulent, brooding guitar figures of The crossing of the body, the crossing of the mind. The album progresses through the rapturous electronic phasing of The little we last into the coruscating synth grandeur of Let me know when you’re pure, before a thrilling endgame.

Closing with the wavering harp runs, heavy percussive thud, and cataclysmic guitar discordance of Maybe I am dead and this is paradise, and the evanescent atmospherics and beautiful acoustic refrains of Work of ending, Portioli takes the listener through vast landscapes of sound and mercurial emotional states. Intimate and immersive in equal measure, the record traces a compelling sensory journey.

Each part of the album is part of a larger poetic sentence, with track titles forming fragments that together articulate a meditation on transience. From 18 circles to heaven and Come to stay through From the other side and Work of ending, they read like quiet statements about being human, about loving, losing, remembering and eventually fading. The record moves through these states as a continuous passage, depicting a poignant soundworld guided by temporality.

The awareness that our time is limited sharpens the value of what remains. Each encounter, each gesture, each fleeting moment becomes more vivid. Temporary lingers in the space where presence and disappearance coexist, where everything is already passing away and therefore becomes infinitely precious. Things matter because they do not last. Mortality does not diminish life; it intensifies it. In confronting these ideas, Temporary feels irrepressibly alive.

Composed, produced and mixed by Aimée Portioli
Production and mixing assistance by Luca Sammartin
Acoustic piano on Maybe I am dead and this is paradise by Andert Tysma
Mastered by Rashad Becker
Cut by Marta De Pascalis at Schnittstelle, Berlin
Artwork by Nicola Tirabasso
Layout by Riccardo Piovesan

Building from the critical acclaim of last year's debut album "Moving the Center", Introspekt returns with an eight track EP. "After I'd done the first album, it felt like I opened up a few different portals. 'Mutant Transmissions' feels to me like the result of following one of the threads that I started weaving," she explains.

With portals opened, it turns out the first step towards going down one of them is the use of time machines or at least… timeless drum machines. In this case investing in music hardware that rewired classic 808/909s allowed her to explore. Where exactly she ended up, is a story of two parts.

Sonically, the EP is eight dark, bassy and stripped back trax sitting somewhere over the Black Atlantic between 2002 Croydon dubstep and East Coast Baltimore or Detroit electro. The east coast influences are a new front in the exploration of her sonic heritage and identity. "I wanted to do something that was a bit more synthetic and build every piece from scratch… in terms of the sound design, it's a bit more angular. I was writing a lot with spirals in mind."

Psychologically however, the EP's track titles are clues for individual galaxies accessible through the portal.

"Fierce Diva Protocol" is named after a personal self defence mechanism designed to protect from overwhelm caused by hypervisibility; the process of when to say "no". This brought the understanding of self that "sometimes change that's very positive feels challenging and scary in the body".

Similarly "Breath Work (Club mix)" speaks to the breathing exercises she returns to in the most turbulent periods of her life and is centred around samples of in- & exhalation. "I wanted the breath samples to feel almost referential to a sensual energy but in a sense of like a creative energy, a reference to something primordial even... There's something about the creative thrusts of life that is contained in breath."

"Left Eye" begins with something personal: her vision, after a few injuries, is less clear in that eye. But it is also a "reference to various cultural symbolic associations of the left eye and its relationship to various more universal principles, to the unseen, more intuitive parts of the brain…" She's learned to leverage her defocused lens to develop an "intuitive sense about things in response to stressful situations or intense change," whether that's in martial arts bouts or music industry antics. Left eye open: not simply seeing but perceiving.

Finally, two of the EPs tracks feature numbered titles: "108 Shapes" & Drum_Signal_ 027", the digits of which both sum to 9. Suddenly Introspekt's portal has taken us to a numerology galaxy, one not a million light years from Taoism or the Aṣẹ tradition of the Yoruba. "Nine is associated with completion, the resolution of cycles and the motion of transformation, change or metamorphosis," she explains.

"I made 'Drum_Signal_ 027' pretty close to my 28th birthday, so I was 27 years old, and I was thinking about the previous year. It's kind of about me reflecting on change and the things that sometimes you have to give up in order to embrace change. But also the limitless potential of embracing that."

Trusted Rhythm Records seeks to live up to its name right from the off with a debut vinyl compilation that explores deep house from multiple angles. Yuu Udagawa first comes at things from a soulful perspective, with diffuse pads and jazzy melodies heating up a nice soft groove. DFRA's 'Give Me' (Masaki Morii remix) is a playful, musical sunset sound for when you're dancing by the Med somewhere and the flipside begins with a tropical deep house heater that is organic and baked in sunlight. Trinidadian Deep keeps things dialled in and spiritual with his mix of Jean-Jez and a Coflo remix closes with more bold rhythms but no lesser depth. Sophisticated stylings all round.

One of the most influential dub albums ever made. The remixing techniques used – radically new for 1973 – helped transform the role of the producer and the engineer to that of creative artists in their own right.

First released in Jamaica in December 1972, Upsetters 14 Dub Black Board Jungle is widely regarded as one of the first full-length dub albums and a true landmark in reggae history. Produced by the visionary Jamaican innovator Lee “Scratch” Perry, it marks the decisive moment when dub evolved from incidental B-sides into a fully realized long-playing art form. At a time when Jamaican sound system culture was flourishing, producers were beginning to strip down popular reggae tracks into instrumental “versions,” emphasizing the bass and drums for sound system deejays to toast over while adding echo and reverb effects to make things more interesting and dynamic. While King Tubby, who was in charge of mixing the tracks, was pioneering the technical foundations of dub, Perry expanded the approach by adding the hypnotic and psychedelic sound effects that made this record so rich in ideas, rendering the album more conceptually bold.

The album reworked previously released rhythm tracks by the Upsetters, which were recorded between 1970 and 1972, shortly before Perry opened his own studio – the legendary Black Ark Studio in Kingston. Their tight, groove-driven playing provided a solid backbone for these radical studio manipulations. Using the mixing desk as an instrument, tracks were deconstructed in real time – dropping vocals in and out, isolating drumbeats, pushing bass lines to the front of the mix, and sending fragments of sound spiraling into space through the heavy use of a spring reverb and tape delay effect units. Silence became as important as sound, and the interplay of rhythm and echo created a hypnotic, immersive listening experience.

Upsetters 14 Dub Black Board Jungle established dub as a genre defined by creative studio intervention. It demonstrated that the remix itself could be the main attraction, influencing generations of reggae producers and resonating far beyond into the techniques and aesthetics of post-punk, electronic music, hip-hop, and ambient sound design. By transforming the studio into a creative laboratory and elevating the “version” to an art form, this foundational album reshaped not only Jamaican music, but the whole of modern music production culture.

Damian Lazarus and Kenny Glasgow reconnect on Crosstown Rebels with ‘Where Do We Go?’ The two figures with a longstanding shared history come together for their latest collaboration which features Jonathan Kaspar Remixes on the flip.

The histories of Damian Lazarus, Kenny Glasgow and Crosstown Rebels have been intertwined for well over a decade. Glasgow’s unmistakable voice and production were central to Art Department’s sound as the project emerged through the label under Lazarus’ guidance, and their relationship has continued over the years since. Now, the pair come together under their own names for ‘Where Do We Go?’, a new collaboration that draws from that shared past without attempting to recreate it. There’s a lot simmering beneath the surface. ‘Where Do We Go?’ moves through a restless web of influences, with Kenny’s vocal sitting at its heart as wiry guitar riff s, acid touches and sweeping electronics continuously shift around it. Indie dance traces sit alongside the late-night house sensibility familiar to both artists, but the record never settles neatly into any one space; tension builds, ideas overlap, and the arrangement keeps moving without tipping into excess. For Lazarus, the single marks his return to home turf following the release of ‘Magickal’, an album that once again placed collaboration at the heart of his work, bringing together talents such as Fink, Jem Cooke, JOJO ABOT, Totally Enormous Extinct Dinosaurs, A-Trak and Mathew Jonson. That instinct for unexpected combinations has run alongside his work at the helm of Crosstown Rebels throughout its history, with his output consistently drawing on a kaleidoscopic musical vocabulary beyond house and techno alone. Meanwhile, Glasgow arrives with an equally individual history. A foundational voice within Art Department and an established solo artist long before the project began, his catalogue stretches back to the early ’90s and across releases for Turbo and No.19 Music. His instantly recognisable vocal style has remained a defining part of his work, and on ‘Where Do We Go?’ it cuts straight through the production, anchoring the track as everything else shifts around it.

Label boss Damian Lazarus calls on Jonathan Kaspar’s safe hands for his interpretation of ‘Where Do We Go?’, his latest collaboration on Crosstown Rebels, alongside Kenny Glasgow. Following up on a rammed summer schedule with performances at Fusion Festival, Fabric, Else Berlin and Woodstock 69 Bloemendaal, and having just delivered his own EP on the label this year with ‘The Reason Why’, Kaspar returns in fine form, offering a version that delves deeper into the originals’ introspective layers, drawing out darker atmospheric tinges. Kaspar’s ‘Where Do We Go?’ rework strips the original back to its core, with dubbed-out textures and a brooding sense of space that give the track a natural nocturnal edge, while eerie melodic details hold simmering tension throughout the mix. The dub version lets the groove and moody atmosphere take centre stage to close things out.

The Deviants (formerly The Social Deviants) were a British psychedelic rock band originally active from late 1966 to 1969. The bandname was later used as a vehicle for the musical work of writer Mick Farren until his death in 2013.

Musically, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things.
Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Mick Farren said that they were influenced by The Who, Charles Mingus, The Velvet Underground and Frank Zappa.

The Deviants is their 3rd album and is now available as a numbered limited edition of 1000 copies on yellow vinyl and it contains a replica of the original mini booklet.

When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.

The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”

Fourteen years have passed since Woollen Kits released two albums in a single year (Woollen Kits and Four Girls, both 2012), but Melbourne/Naarm’s beloved Kits are back to remind us what we’ve been missing all this time.

Weather the Storm still draws from the same deck of cards, but opens the door to some more classically renowned influences like The Velvet Underground, Television Personalities, Beat Happening ,Marine Girls, Bob Dylan, Van Morrison, et al.

Across ten tracks it’s clear just how well they can write a hook, a verse, a chorus, a song; bringing together themes of everyday life, love and sincerity with aphorisms, stories and the classic sound we know and love.

Woollen Kits’ approach is almost as minimal and primitive as it was back in 2007, when singer/guitarist Tom Hardisty first sent a few channels into the red on an old Tascam tape machine. Simple chords, strong melodies, witty lyrics and a clear message. It’s a hell of a combination when it’s done well, and one they would only refine from there.

Tom (Hardisty) recruited a second Tom (Ridgewell, drums) and a Leon (Applebee, guitar) to help guide his new Cramps/Half Japanese- worship bedroom project into a real-life band, playing their first gig on NYE ’08 before launching into 2009 to record their first canon release, the Teenage Love 7”.

Yes, much time has passed since the band’s last record, Four Girls, came out in late 2012, but in the interim members have released plenty of other music across numerous projects, including Constant Mongrel, Nun, Canine Apathy, The UV Race, TB Ridge as The Director, Calamari Girls & more.

Fuglen flyr godt (“The bird flies well”) is the second solo album by Norwegian multidisciplinary artist Espen Friberg, following 2022’s Sun soon (Hubro). Recorded in the coastal town of Hvitsten, Norway, through the winter and spring of 2025–26, the album consists of eleven pieces made entirely on the Serge Modular synthesizer. Through improvisation and experimentation, Friberg treats the Serge as a shifting network of relationships, developing a vocabulary of idiosyncratic melodies and textures by turns warm, fluid, woody, and curiously animate.

This is music developed in close proximity to Friberg’s surroundings in Hvitsten—pine forests, smooth seaside rocks, and changing winter light. Rather than translating these things into anything explicitly programmatic, Fuglen flyr godt absorbs their scale and ephemerality. Friberg follows his instrument into unexpected places: patterns cohere and slip apart, rough textures give way to passages of peculiar delicacy, and the open-ended architecture of the Serge yields a broad range of gestures and environments.

Mixed and produced by Friberg’s longtime collaborator Jenny Berger Myhre (Flutter Ridder) and mastered by Eivind Opsvik, Fuglen flyr godt finds Friberg bringing his characteristic lightness of touch to the Serge ecosystem, coaxing organic, playful music from its unruly circuitry—music that feels of a piece with the landscape around him.

In statement to Its identity, Fergus Sweetland's Pain in the Brain EP initiates the linage of the unapologetically physical, vinyl-only Wobble Wax.

His release at its core is a computerised gallop, grounded in playful but mature musicality. Fergus' chord aware contemporary detailing emits a breezing alchemy of wiseful restraint from an artist who understands the assignment.

The ever-welcoming theme of Sweetland's signature percussion ensures each of the 4 excursions deliver a cohered reference, but not without unique imprint. Speaking to the subtle, non fixed states, that Wobble's manifesto arguments.

Notable entries include: B2's 'Pain in the Brain'- a sharply composed stab anchored in acidic static'ism. And A1's 'Lean into Fuzz'- An aura farming ode to synth-tropic minimalism.

5 track LP

Follow-up to 2025's “i was put on this earth” (“a triumph of gentle reverie and quiet upheaval” - Pitchfork). DJ Python’s music has always occupied the interesting space in between - reggaeton's low pulse, ambient's patience, deep house's forward motion, the abstracted sounds of trip-hop, shoegaze, and pop - and this new EP finds him stretching that even further. A companion to “i was put on this earth”, the new EP shares that project's creative DNA while pulling in its own direction.

DJ Python (aka Brian Piñeyro) steps more fully into the role of singer and songwriter, sharing the mic across a set of collaborators including Ari, Tony Bontana, and Eden, while still carving out room for hypnotic solo songs.

Across five tracks, the project moves fluidly while retaining the captivating melodies, atmospheric textures, and rhythmic innovation that defined Python's earlier recordings - Mas Amable, Angel, and Club Sentimientos Vol 2 - expanding those sounds into something looser, warmer, and harder to categorise.

Following a hugely successful debut, the LA collective Boogie Down Edits return with a second volume that turns its attention to one of hip-hop's most untouchable catalogues - A Tribe Called Quest. The approach remains as tasteful as ever: the defining vocal fragments and musical DNA of the originals stay fully intact, while the grooves and rhythms get subtly reworked for DJ-friendly, peak-time impact. 'Award Tour' opens proceedings with that unmistakable vocal hook gliding over a chunky, rolling house beat built for packed floors, while '4Momz' takes things deeper and more atmospheric, warm bass pressure and dreamy textures giving it a genuine late-night feel. Golden-era hip-hop attitude meets contemporary house production. Mad respect.

2026 Repress

With this seventh instalment of retweaked heat, Perro Bueno Edits once again prove that less is more when you know exactly what you're doing. Both refixes strike a sweet spot between respectful crate-digger sensibility and dancefloor punch while updating Afro-funk classics without sanding off their soul. 'TFOM' puffs out its chest with big, bold, playful horns leading the charge as Latin vocals bring some sunshine and funky bass keeps things moving. 'SMPP' slows the tempo, which means more room to luxuriate between the dumpy kicks and appreciate the sharp horns and organic percussion before some raw vocals bring a Brownian funk edge.

Rhythm Cult returns with a heavyweight four-track EP from Magnetik Source, featuring a very special remix from Brian Kage. Four deep, driving cuts built for the heads, moving between Detroit house, dub techno and stripped-back machine grooves. Title track “Eastpointe” sets the tone with its rolling drums, deep chords and understated Detroit feel, before Brian Kage takes it deeper into tougher, more hypnotic techno territory. “Tecumseh” strips things back further, locking into a raw, drum-led groove, while “Cinron” closes the EP on a deeper, slower-burning note. A serious four-track package from Magnetik Source, with Brian Kage on remix duties and already receiving early support from John Digweed, Laurent Garnier, Radio Slave, Danny Howells, Guy J, Joseph Capriati, Âme, Paco Osuna, Funk D’Void, Karotte, DJ Harri and Chris Fortier. Another Rhythm Cult release made with the vinyl heads firmly in mind.

Teemon and Poomba go looking for light in the darkness on their new EP “Hopeless.” The Madrid duo have a knack for dragging nostalgic sounds into the present, and this release is no exception. With equal parts Hi-NRG euphoria and dark disco dread, the four tracks feel like a glitchy transmission beamed in from another decade, or perhaps another galaxy…

The title track, “Hopeless,” sends us hurtling down a wormhole. Powered by a cavernous bass, we are propelled through kick drums, warp effects and sparkly synths, while a distant voice calls at us through the darkness.

Iranian producer Amirali takes “Hopeless” somewhere a little lighter with his remix, easing the intensity down before letting it slowly climb again. His version foregrounds the track’s earworm synth line and builds on it, layering and expanding on the vocal line until it sounds celestial. Amirali’s skills as a classically trained pianist feel reflective here in his compositional approach.

If “Hopeless” is the wormhole down, then “Moon Connections” is what’s waiting on the other side. The track leans heavily into sharp, percussive sounds that form a grounding contrast to the high synths that glitter above. With a spoken word line that sounds like it’s being transmitted through a space-age radio and enough deep warp effects to get lost in, this B side sends us to the stars.

Closing things out, the Eagles & Butterflies remix of Moon Connections brings us down to earth. Chill, deep-house adjacent and with a hint of Daft Punk in its DNA, it wraps a heavily filtered guitar line around a softened groove built for the comedown – the sound of the sun coming up on the last people left on the floor.

Blur Records marks eight years of international artists and bright, instrumentally rich disco jewels with the second part of its anniversary compilation. The super reliable Monsieur Van Pratt opens things joyfully with 'Just Wanna Make You Dance' complete with strutting bass and disco-house grace that never stops soaring. Delfonic's 'Diamonds' brings filtered depth and a soulful sparkle that supports the glittering vocals. Reiner Von Vielen & Dizko Kreme's 'Good For You' rounds out the A-side with more rooted, chugging disco and a vocal that tugs at the heart. Flip it over and N.W.N.'s seven-minute 'Twin Souls' is a soulful house dreamer, Andy Bach's 'Keep Going On' samples a classic horn riff in a rolling groove, and Sven Wegner & Reiner Von Vielen close with the sophisticated and jazzy house cool of 'Inside Of Me. ' Here's to the next eight.

LowMoneyMusicLove coming through with some new friends. Volume 3 brings together TC80, Saharty, Ivo Reiderman and JJ Fortune for four distinct cuts.

TC80 opens with sleek, restless machine funk before Saharty takes things somewhere rougher and more twisted. Ivo Reiderman brings a brighter, sun-dazed energy to the B-side, with JJ Fortune rounding things off in his unmistakable style - low-slung, shadowy and quietly menacing.

New friends, proper grooves, "LowMoney feeling". Vinyl only.

Anders Hajem makes his space•lab debut with four cuts primed for dark rooms, deep forests and open skies.

Opening the EP, E44Z is a driving techno cruncher, pairing serrated riffs with soaring synth lines and relentless momentum. X66Y follows with a growling, psy-infused workout, weaving sci-fi textures through its propulsive groove. On the flip, A44Z tunnels deeper, its hypnotic groove rising and falling through the journey. Closing the release, the title track Absorbe strips things back with spacious, eerie sound design, understated percussion and a deep, rolling bassline that lingers long after the final beat.

...a sound unbound by time and space

DRIVETRAIN - Feel Me
Mezmurizing in ethereal pads, a beguiling vocal repetion and punchy rhythm

JAY STRATA - Something 4 U
Mondo bass directs spicy pad lines and female vocal drops for something evocative

DJ SINJIN - Things On My Mind
Straightforward, funky and direct, from the fierce bass line to the aggressive dialogue

DJ MOURAD - Dreams Of An Insomniac
When jazz meets acid and a mythical descendant is born clad in muted trumpet and bleeps

Digital Sting returns after a bit of a hiatus with an across-the-globe collaboration featuring two of contemporary electronic music's most mysterious and prolific figures. Berlin-based, UK- born Low End Activist meets British Columbia-based, Philippines-born SeekersInternational for a seamless merger of their distinct but eclectic styles. SKRSINTL's woozy abstracted dubwise and dancehall psychedelia drips in, pooling and merging into Low End Activists minimalist and precision delivered bass bin pressure. Both artists' music spends some of its time in the hazy edges and ambience between sounds with hints of the activity,

atmosphere and noise of the larger world present in the individual sounds themselves. An aspect of this record rides like a distilled essence of a merger between vhs era soundtracks, dusty live sound system tapes and classic era grime instrumentals but avoids the trap of obvious nostalgia. What is created through collage, deconstruction and refinement is in its whole very now. Like all things SKRSINTL and Low End Activist the continuum is honored and the momentum is always pushing forward.

The records come in double sided silk screen printed DJ Jackets, with Obi Strip style stickers and hand stamped white labels printed and assembled by Digital Sting.
The artwork for this release was created in collaboration between SKRSINTL and Digital Sting.

Mastered by Alec Ness and Greg Reierson. Vinyl run of 330 copies.

Following the success of Under Tangled Silence last year which peaked at number one in the Dance Albums charts and peaked at 9 on the Albums Chart staying in for 21 weeks, DjRUM returns to Houndstooth with a 15 minute continuous EP pressed to side A and a custom etched picture disk on Side B.

Felix (DjRUM) was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as a composer. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ, this EP encapsulates his musical upbringing weaving in percussive elements across the stereo field to create a truly mesmerising listening experience.

Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family K S R (‘Do You Want To Get High’, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

Available on all digital platforms and physical formats, Friday September 4th 2026.







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[g] B3 | Do You Want To Get High? (feat [ K S R ]) - Children of Zeus03:26

Two Piers / Pavilion Records bring you the second instalment in a new series of 12” EPs called ‘Pavilion 12”s’ showcasing different genres and scenes. Put simply 4 x Killer cuts from the scene on Limited Vinyl pressings

‘Pavilion 12”s Volume 2’ features four cuts from the New Beat, EBM and Electro Industrial explosion of the late 1980s and is pressed on ‘Neon Acid’ coloured vinyl (limited 350 only pressing)


The Vinyl EP opens with the classic EBM track ‘Flesh’ by A Split Second, who were one of the pioneers of the Belgium New Beat underground explosion of 1987. Fellow Belgian New Beat exponents L&O deliver ‘Even now’, a staple in the Underground Electronic scene of the late 1980s. On the flip things take a more Electro Industrial turn with UK electronic industrial collective Nitzer Ebb’s seminal ‘Join in the Chant’, before Front 242 close things off with their EBM dancefloor monster ‘Headhunter (V1.0)’ – 4 Classic and hard to find New Beat & Electro Industrial Dancefloor bangers on one slab of 12” vinyl

Sometimes the most interesting stories in 80s dance music are hidden on the B-sides.

This one begins in Munich with two men: Manfred Alois Segieth, better known as Fancy („Slice Me Nice” and „Flames Of Love”), in the production credits he frequently appeared as Tess; Alfons Weindorf, musician, composer and producer, member of Zara-Thustra and part of the Munich studio environment surrounding the Weindorf family and Weryton Studios. For his electronic dance productions he used the names Elvin and Elvine. In the second half of the 1980s, Tess and Weindorf became part of an extremely productive Munich circle that also involved names such as Linda Jo Rizzo, Grant Miller, Sabrina Lorenz or Charlie Glass. Together in various combinations, they created original productions, songs and remixes that today form an unmistakable chapter of German Euro Disco. ZYX Records regularly called on this production world for new mixes and additional material and this is where our story becomes particularly interesting.

In 1986 ZYX decided to release „Tribal Stomp (Cherokee Nation)” by Psychic Interface in Germany. Psychic Interface was actually an American project by Jim Callon. But turn the German 12-inch over and things suddenly become much more German. The B-side, „Dancin’ In The Night”, was credited to Psychic Interface as well, yet the music itself came from an entirely different world. Written and produced by Elvine and Tess it was essentially a Munich production. The synths, the bassline, the melodies, the arrangement and that unmistakable mid-80s German Euro Disco character all point directly towards the creative partnership that would become associated with The Hurricanes.Around the same period another piece of the puzzle appeared. ZYX decided to bring back Den Harrow’s 1983 debut single „To Meet Me”, taking advantage of the enormous popularity Den Harrow had achieved by 1986. The new German release featured the „Hurricane Hit Mix”. And on the other side was something completely different – „Tropical Nights”. An instrumental written and produced by Elvine and Tess and this time officially credited to The Hurricanes. There was a logical reason for that. Putting an original composition on the reverse of a licensed or remixed single meant that the creators were not only remixers or producers. Their own composition was now part of the record as well, generating its own publishing and mechanical rights. It was a clever piece of 1980s record business. Two years later, in 1988, The Hurricanes would return with the much better known „Only One Night”, one of the finest examples of the Elvine & Tess Euro Disco sound.

Now Vintage Pleasure Boutique goes back to that earlier chapter. We bring together „Tropical Nights” and „Dancin’ In The Night”, two productions born from the same Munich team, and give each of them a new DJ-friendly interpretation. The originals retain everything that makes them special: crisp electronic drums, driving sequencers, huge synth melodies and that wonderfully unmistakable German take on Italo Disco. The new remixes take the same DNA onto today’s dancefloor. Longer builds, stronger transitions, more room for mixing and a subtle touch of contemporary italowave production, without losing the melodies, atmosphere or character of the originals.

Two hidden pieces of Munich Euro Disco history, taken out of the B-side shadows and finally given the dancefloor space they deserve. Two originals. Two new remixes. One fascinating piece of The Hurricanes story.

How is dat? Rub-A-Dub on that Holy Nights?

With a jug of Glühwein and the snow falling outside (or rain), the band LIVITY BETHLEM SNOWFLAKE ROCKERS sets the mood. Meanwhile, PRINCE ISTARI shall take his place before the organ, and play warm melodies unto thee in this cold and wintry world. Yet shall he remain steadfast at the controls, increasing the Irie for all ye snowflakes who dwell upon the earth. And behold, the First Holy Night shall be mighty indeed. For all shall be eager to rock the house, and the rejoicing may well become somewhat excessive.

First shall come “Sweeter the Dubs,” gently leading thee into the sacred zone. Then cometh “Silent Dub,” whereupon it may become apparent that the PRINCE hath partaken of one cup of Glühwein too many. Thereafter shall sound “Scho Glei Dumpa Dub,” and this shall be the tune that causeth all within the dance to rise up and jump with great rejoicing, before returning unto their sofas and collapsing therein. And when the Holy Night draweth toward its end, there shall arise “Dawtah Of Zion Dub,” a tune of great fellowship, wherein all may lift up their voices and sing along, until at last they gently drift away into the blessed state of winter hibernation. Thus endeth the First Holy Night.

On the morrow, being the First Holy Day, we shall turn unto Side B. And even as Mary went forth through the thorny bush, so is it now ordained that we shall partake of the remnants of Holy Eve, and suffer the mighty hangover thereof. And for this purpose shall the lively “Dub Amid the Thorns” be laid upon the turntable. And when all things have been made ready and every remnant hath been consumed, the evening shall proceed into heavy rotation with the mighty Acid Dub Banger featuring RANKING TRUDY “Oh How Joyful Dub.” And thus shall the music continue until the very last of the guests have departed unto their soft feather beds.

And on the Second Holy Day, we shall abide in a continual loop of the peaceful “Silent Trickle Dub,” dwelling in humbelness and jubilant. Then shall we go forth into the winter, and all the snowflakes shall rejoice together at the sound of the final tune, “Flöckchencore.” For it shall be short, yet most solemn.

This album transforms traditional German and Austrian Christmas songs, in all their redundantly soporific form, into a heavily exaggerated alien dub territory. The line between the bearable and the destructive runs dangerously close here — though it remains quite danceable. This one is for the strong-hearted. Friends of psychedelic dub or ambient afternoon naps might want to steer clear of this product.

UK underground heavyweight Ploy unleashes his second release on Dekmantel with a brand new four track EP. The release sees the dynamic producer continue to push the envelope with his own flavour of driving, sexy, Ploy house. Putting every ounce of his production prowess on show while proving yet again that Ploy is a force to be reckoned with both in the studio alike. Making tracks for DJs has always been the source of inspiration for Ploy and this is no different with each offering carrying its weight and then some. Straight up, no frills house music that oozes quality by doing the simple things well.

Kicking off the record is title track 'Glizzy', an arpeggiated tech house tool built for the hours that you lose yourself on the dancefloor. From the off Ploy puts his ear for percussive dynamism on show with the understated subtleties of this opener. Thematic sampling, nuanced arrangement and odd ball melodies combine to set Glizzy apart with a gentle nod to hot dog lovers worldwide.

The EP follows suit with A2 'Global Underground'. A contemporary progressive house roller, which rips through the atmosphere with melodic blasts, unrelenting groove, and a powerful bassline.

Offering an equally effective double B-side, B1 is 'Yesterday Now Tomorrow', which sees Ploy lean on his production mastery with entangled percussion and expertly dosed sampling. The result is a swinging heavy house burner that is truly greater than the sum of its parts.

Lastly on the EP is ‘SlowanDip’. A heavily swung, percussive chugger to warm up a dancefloor, paired with a bassline to test the system, this B2 closes out a stellar second showing on Dekmantel for Ploy.

The record arrives at the crest of festival season and is primed to soundtrack dancefloors around the world under the glistening Summer sun. Ploy has quickly carved out a reputation for his unmistakable, drum driven take on house music, and Glizzy only sharpens that identity further. Focused, effective and built with DJs firmly in mind, the EP captures an artist operating with total confidence, delivering four tracks that prove Ploy isn’t just part of the conversation, he’s pushing it forward.

NEXT WORLD SOUND SERIES vol. 5 continues the line of experimental compilations featuring one side of an artist exploring their individual take on the ambient genre. Pressed in clear green vinyl.
Knox Chandler is an American musician, producer, arranger, and visual artist whose career spans over four decades. He has worked with The Psychedelic Furs, Siouxsie and the Banshees, Cyndi Lauper, R.E.M., Depeche Mode, Grace Jones, and Dave Gahan, among others. After a decade in Berlin, where he developed his layered guitar technique called Soundribbons, he returned to the U.S. and settled on the Connecticut shoreline.
ANNA HOMLER, is a vocal, visual and performance artist based in Los Angeles. She has performed and exhibited her work in venues around the world. With a sensibility that is both ancient and postmodern, Homler sings in an improvised melodic language. Her work explores alternative means of communication and the poetics of ordinary things.
Anna is accompanied by: Jeff Schwartz, a very active Los Angeles-based improvised and experimental double bassist. He leads the Present Quartet, Intangible, and the Soapbox; performs with a variety of ensembles and orchestras; and has written books on music for SUNY Press and Routledge.
David Javelosa a composer, producer, recording artist and technologist based in Mar Vista California. Performing on modular, electronic instruments, he has created soundtracks for many of the major game platforms, and most recently has been performing with Microwave Buddha, a retrospective of his synth pop work in the 1980's.

12" , transparent vinyl with black dots

pdqb has been spending an increasing amount of time on the Blue Planet lately. From his perspective, this was never going to end well.
With an intelligence operating several evolutionary levels beyond anything currently available to humanity, pdqb identified the problem almost instantly. Humanity's operating system had developed a number of serious inefficiencies, and the planet was clearly heading in the wrong direction. Even artificial intelligence would not be of much help here: created by humans and trained on human knowledge, it remains, in pdqb's estimation, a rather primitive form of intelligence compared to the cognitive systems he carries within himself.
So pdqb has decided to intervene - personally, and in human form. His identity will remain undisclosed. His intervention, however, will be unmistakable: a brief intelligence boost, followed by approximately 10.000 years of world peace.
It will be fine.
Contact Imminent contains three transmissions from pdqb himself, carrying his characteristic Electro-Cognition signature sound - three pieces of evidence that the future is still worth saving.
For the B-side, pdqb selected two Earthlings whose music he already appreciated, but whose name was particularly appropriate for the occasion: Extrawelt.
Because after the intervention, this planet will no longer be what it was. It will not be the old world, nor simply a new one.
It will be an Extrawelt.
A slightly improved version of reality, with another 10.000 years to get things right.

5. VITAL SALES POINTS:
" transparent vinyl with black dots
" mastered by the infamous Andreas LUPO Lubich
" cover artwork by SUPERFLEX
" two remixes by Extrawelt

The Style Point EP by Lavan showcases one of Berlin’s most refined groove specialists.

Originally from London, Lavan has both the elegance of classic deep house and the unmistakable swing of old-school MPC-driven UK garage running through his veins.

The title track, “Fierce,” perfectly captures his approach, striking a seamless balance between house and garage. Another Berlin legend, Dana Ruh, delivers a deep rework of the original, a timeless groover, showcasing exactly what she’s known for and what has made her an institution on the international house music scene.

The B-side opens with another flowing gem, “If U Bad,” a track that fits effortlessly into any moment of the night. Closing things out, “Today” reveals a darker side of Lavan’s sound while perfectly reflecting the core identity of Salty Nuts.

Limited to 250 copies. Vinyl only

2LP Black Vinyl im Gatefold Cover!

Mehr als 50 Jahre dauerte die Karriere von David Bowie, dennoch war es ein Schock, als er Anfang des Jahres 2016 plötzlich verstarb. Der Musiker, Sänger und Produzent hinterlässt der Welt ein beeindruckendes Gesamtwerk mit 25 Soloalben und vielen weiteren Livealben, Kompilationen, Soundtracks und Gastauftritten. »Legacy (The Very Best Of David Bowie)« heißt der neue Best-of-Sampler, der jetzt noch einmal einen Blick auf die größten Hits seines Lebens wirft – von Klassikern bis hin zu seinen letzten Aufnahmen. Natürlich darf die Sammlung dabei auch nicht auf seine größten Hits verzichten, darunter »Let’s Dance«, »Space Oddity«, »Starman«, »Ziggy Stardust« und viele weitere. Mit »Lazarus« hat es auch ein Song von seinem letzten Album »Blackstar« auf die Kompilation geschafft. Zu den weiteren Highlights auf »Legacy (The Very Best Of David Bowie)« gehört unter anderem eine neue Version von »Live On Mars?«, die von Produzent Ken Scott gemixt wurde. 20 Songs haben es auf das Album geschafft.

Prunk is taking a journey back to where it all began with 'Footprints'. Over the years, he has become known for many things: the driving force behind PIV, a tastemaker with an ear for exceptional new talent, and a respected figure shaping the future of house music. However, beyond the label, showcases, and the artist development lies the foundation of it all, which is Prunk, the artist. This album is a deeply personal statement and a return to his roots. Stripping away expectations and industry roles, 'Footprints' focuses on what has always been at the heart of his career, which is creating authentic house music driven by soul, groove, and emotion. Across the album, Prunk brings together a unique blend of established legends and the next generation of artists, bridging the past, present, and future of house music. The result is a body of work that honors the sounds and influences that shaped him while continuing to push the genre forward with a fresh perspective. 'Footprints' is a tribute to artistic identity. It reflects the path Prunk has traveled, the people who inspired him along the way, and the musical values that remain unchanged. Every track leaves a mark of who he was, who he is, and where he's headed next.

Celestial Echo Records heads to the Cayman Islands for CER014, produced in association with Whale Rider Records and longtime friend of the label Medlar.

This release shines a light on two incredible sides from the legendary Memory Of Justice Band, one of the Caribbean's best-kept musical secrets. Formed in Grand Cayman during the 1970s, the group blended soul, reggae, funk and island influences into a sound entirely their own, becoming one of the region's most beloved bands in the process.

On the A-side is a gorgeous piece of sweet modern soul — warm, uplifting and packed with the kind of effortless musicianship that makes you wonder how it stayed under the radar for so long. It's exactly the sort of record Celestial Echo was built for: soulful, timeless and impossible not to fall for.

Flip it over and things move firmly onto the dancefloor with a reggae-boogie burner produced by the legendary duo Sly and Robbie. Built around a heavyweight groove, tight rhythm section and infectious hooks, it's the perfect counterpart to the sweetness of the A-side and a reminder of just how interconnected Caribbean music was during this period.

As always, Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

DJ Support: Kerri Chandler, Chris Stussy, Archie Hamilton, Fabe, Groovesh, Vlad Caia, Andrey P Ush Krav, Thor, Masimillano Pagliara, Dubtil, Reboot, East End Dubs, IULY.B, Josh Wink

Now repressed on Limited Edition green vinyl.

Kerri Chandler’s Kaoz Theory welcomes Amsterdam’s Chris Stussy onto its roster with the ‘A Glimmer Of Hope’ EP.

Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past five years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint. Here though he delivers his new four-tracker for Kaoz Theory.

Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums.

‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.

There are streets we know by heart, every wall and every crack etched into memory.
That kind of intimacy can only be earned over time, through repetition and a deep
attachment to the things we hold closest.
“Can You Feel It” belongs to that rare category of records that time has made sacred. Yet
even after all these years, it still has more to reveal.
The New York Dub revisits the original through the haze of a nearly forgotten era, when
the hypnotic pull of the night was all that mattered. Elsewhere, the Underground
Resistance remixes offer a tougher, uncompromising reinterpretation, stripping the
record back to its raw dancefloor essence while preserving its soul.
These remixes reveal the record from an almost forgotten angle. A rare opportunity to
rediscover something cherished without diminishing the memories it carries...

Some things in life are meant to be consumed whole: a perfectly paced movie, an oyster at Whitstable Bay, a novella on a sunny afternoon. Into this pantheon of singular experiences comes Runners, the second album from London instrumental rock quartet Dog Unit. The follow-up to At Home, the band’s cult favourite 2024 debut album, Runners moves seamlessly across its 42-minute runtime. It finds the quartet – comprising Sam Walton, Henry Scowcroft, James Weaver and Lucy Jamieson – crafting tracks that undulate, churn and yearn in service of a greater purpose as they plough fertile fields of sonic storytelling. Made over the first four months of 2026 at the band’s studio in Limehouse, East London, Runners finds the core group, alongside producer and long-time collaborator Mark Estall, operating with greater ambition and scope than ever before. This time they commissioned a string quartet specifically for this project, and reappointed noted experimental bass clarinetist Heather Roche, as well as taking in a cavalcade of instruments at their studio, including vintage synths, drum machines, pianos, and harmonium. The band’s music is often compared to cinema, and if At Homewas a charming micro-budget indie flick bursting with potential, Runners is a widescreen realisation that stands up to repeat viewings.

New release from Stockholm-based producer Anders Enge (BÖRFT rec, Blank Forms), once again based on tracks pulled from his live set: L’Angle du Hasard and Tempest Chords. Two solid and moody pieces with a healthy dose of euphoria stuck in there somewhere. They are complemented by a slightly more experimental and housey approach with Rêve Familier and Winny & Wanda. All things considered an interesting ride! Handstamped discobag with download code. Edition of 100. Mastered by Jesper Dahlbäck.

Three decades deep and still as restless as ever. That's the energy Tokyo's Realrockdesign collective bring to this second anniversary split to mark 30 years of cross-disciplinary creativity. DOTT opens things with two tracks crafted from unpredictable basslines and razor-sharp vocal chops that never settle into anything predictable. Then Rio Kawamoto takes over and the shift is immediate: funky breaks laced with tribal samples give way to a heavier, acid-warped second cut that feels rather feral by the end. These tunes map out two different corners of Asia's underground but they share an unrelenting originality and shared allergy to the norm. A fitting way to mark three decades, then.

Rebolledo is back. And this time, he's bringing his own label: Rated R. What began as a party series — with chapters like Rated R and Wax Upon A Time — now mutates into a record label. Long overdue, if you ask us. Surrounded by talented friends from all corners of the globe, this is the new home for bringing everything back into focus. And yes, on wax too.
Naturally. For the first release, we're kicking things off with something equally overdue: Rub N Tug are back. The track? A certified underground wanderer. Loved, played, and passed around dance floors worldwide for well over a decade, yet somehow never properly released. Or maybe it was. Sort of. It's complicated. Now it returns with a remix of a remix, giving the whole thing a fresh coat of cosmic polish. As if that wasn't enough, Paulor takes things one step further with a particularly special jam of his own. Which means we're now dealing with a remix of a remix of a remix.

Confusing? Maybe.
Necessary? Absolutely.
Makes perfect sense to us.

Early DJ Support: Enzo Siragusa, Traumer, Laidlaw, Voigtmann, Franco Cinellli

Key Records returns with a four-track various artists release, bringing together four different vibes that sit naturally alongside each other, while each artist puts their own stamp on the record.

Julian Anthony opens with the spacious and driving “Stargazing”, followed by Wilba’s darker and more stripped back “Head Noise”. On the flip, Darren Roach brings a strong old school feel with “Putting Things In Perspective”, before Reflex Blue closes the record with the playful, after hours sound of “Question”.

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.

One year on from its launch, Regal's Backspin reaches its 11th release, marking a year of steady growth for the label and an equally prolific period in his own output. Following 'Forgotten Heroes' earlier in 2026, Regal returns with his second Backspin release this year. Across five originals and a remix by Berlin duo Disguised, he explores a more groove-driven side of his sound, bringing together unconventional synth design and entrancing melodies with the ferocious club energy that has become central to it.

The A-side opens with 'Red Dress', immediately establishing the EP's unique presence through a menacing synth that commands attention. An addictive horn-like motif repeats throughout, seemingly resonating through a vast, tunnel-like space, while a roaring low end and subtle tom groove keep the track moving. 'Leviathan' follows with crunchy, drum-like synth and a drifting tone that gradually build tension, giving the track an imposing aura fitting its title. A strong kick and restrained percussion leave room for its atmosphere to unfold. Closing the side, 'Midnight Rider' puts a highregister melody at the centre, its warped and uncanny quality giving the track an irresistible character. A rolling bassline drives things along while minimal percussion lets the melody lead, sending the A-side out on a final rush of energy. The B-side begins with 'Claut', where reverberating and dissonant synth lines introduce a more mysterious mood. A solid low end keeps the track grounded, while sparse percussion, echoing chord hits and carefully placed effects build an unpredictable groove. 'Just One Chance' centers on a repeating sine tone whose captivating pull carries the track, locking in alongside a strong kick, rumbling sub and rolling tom groove. An unexpected vocal introduces a message of love, lending an uplifting flavor before becoming another rhythmic and textural element. The EP closes with Disguised's interpretation of 'Red Dress'. The Berlin duo strip the original back into a more loop-driven form, reducing its melody to selected fragments that surface as scattered percussive details. A chugging synth takes centre stage, driven by a striking kick and deep sub, while spoken vocal fragments and stray effects keep the arrangement in constant motion and retain the original's intensity.

Designed with the colder months and club environments in mind, the EP balances atmospheric textures and unusual sound design with a more rolling energy. The drums keep everything rooted in club music, letting Regal explore more adventurous territory without losing sight of thedancefloor and marking another milestone for him and Backspin.

Released in celebration of the lasting impact Sonny Rollins has had on music comes this Original Jazz Classics series edition of his 1956 Prestige album Work Time. Recorded at Van Gelder studios the album completes the quartet with players Ray Bryant (piano), George Morrow (bass) and Max Roach (drums). This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Tip-On Jacket.

Kid Drama presents 'Machines and Other Things', his first full-length album for Metalheadz and a project shaped by instinct from a producer three decades deep into his craft.

Initially conceived through the lens of the classic Headz sound, the album only found its true identity once Kid Drama stopped looking backwards and allowed his own Autonomic influences to take hold. Slowing the tempo and focusing on groove rather than function, he built a body of work unconcerned with club trends, instead prioritising atmosphere, texture and progression.

Written sequentially rather than assembled from a large pool of tracks, 'Machines and Other Things' captures a distinct moment in time. Across the album, layers of tape saturation, analogue processing, noise and environmental detail sit alongside melancholic melodies and intricate rhythms, creating a sound that feels tactile and deeply immersive.

Also featuring collaborations with Goldie, dBridge, Loxy and LaMeduza, 'Machines and Other Things' finds Kid Drama drawing on the past without being defined by it, delivering a body of work that feels unmistakably his own.

'Life As A Duck' marks the return of Fergus Sweetland's imprint Pressure Systems and the label's first vinyl release. The title originates from a joke between two friends - friends that are ducks. These ducks found one another whilst discovering themselves, trying to navigate a world built for humans. Being a duck is another way of saying neurodivergent; existing adjacent to everything whilst trying to make sense of a strange planet, determined to remain as true to themselves at the same time as trying to be accepted in society. The tracks were made in direct response to a challenge presented to Fergus from a close friend: strip it back. The test was to apply brain-licking sound design to as few elements as possible and work them into functional club tracks. 'Tickle My Tism' meets the challenge. Fergus' signature low end captures the hips as the tension builds, expanding into an unexpected soundscape with precise smoothness. 'Trouble In The Bubble' is a dark yet dubby rolling club track full of texture and soundscapes. Nørbak's remix of 'Trouble In The Bubble' strips things down further with the Portuguese Garage (PTG) version, providing a more club-focused slant to the tune. 'Mind Easer' closes out the EP. The concluding track was written to ease the mind of a fellow duck when their feathers were ruffled by life. Its soothing focus allows one to melt into the sound and calm their mind. It tells you that everything is going to be okay. Expect the unexpected as Fergus' distinct sound design carries you through a four-track journey that emphasises that less is more - from a duck just trying to do his best.

In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.

Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).

2026 Repress

It's been 32 years since Hyper Go Go's 'High' crashed into life, combining the best of Italo House and rave into an exuberant, floor destroying piano anthem.

Fast forward to 2024 and HOOJ reissue this 92 classic with the Original & Cloud 9 Mixes on the A side with 2 newer remixes on the B side.

Remixes come from Fast rising Scottish duo Testpress, who strip things back a bit, working the original riffs around a thumping kick and hooky new synth line & Kyle Starkey, the youngster takes no prisoners, tearing into the OG with slamming 135bpm drums, big drops, the odd snare roll, and lots of drama, for an energy driven update.

"Potency continues apace with 'Jackin Shit', a gleefully self-explanatory EP from label founder Cromby. Following widely-played recent releases from Malik Kassim aka Retromigration, Trax Unit and Rhythms of Prescott, the prolific DJ and producer reaffirms his imprint's fundamentals with four upfront, high-energy tracks, each reflecting a different facet of the Belfast-via-Berlin producer's decades-deep understanding of house and techno history. Title track 'Jackin' Shit' gets things moving with a rich blend of rolling basslines, liquid keys and diva'ed up vocal snippets. Lucid and groovy in the style of seminal East Coast vocal pleasures, Cromby's vision of house is nonetheless driven by a dusty kick drum that references Head High/WK7, or Paul Woolford in a warehouse somewhere... In contrast, 'Sense Control' places percussion front and centre, locking in a tight rhythm in order to ride out a liquid collage of acid lines, ecstatic piano and other blissfully wavy elements. 'Con Gas' establishes a tougher direction on the flip, finding Cromby's busier instincts reduced the simplest of ingredients - sub, bass and stabs - taking dancers deep into the bowels of house, replete with classic vocal call-outs, and yes, even a well-earned inbuilt spinback. Having exhibited such restraint, we're unceremoniously booted out of the cubicle and back toward the strobes for 'Cheeky Bump', a rubbery, driving dancefloor tool guaranteed to delay any impending cab home. Colourful, charismatic and exclusively engineered for true party people, 'Jackin' Shit' finds Cromby returning to home turf on definitive form."

Rupert Marnie, co-founder of The Press Group and Remoto Records, makes his debut on Smallville with some serious curveball action.
Once you immerse yourself in the wonderful breadth of Hamburg’s subculture, it is quite likely that you will soon hear about Matthias Schubert also known as Rupert Marnie. Operating in the City's deepest part of the underground, Matthias provides some highlights that you should know about - may it be co-running a vinyl label (The Press Group) and an amazing record-store (remoto records) together with a group of like-minded friends or may it be as a DJ or Liveact, playing house, techno or ambient music at clubs like Golden Pudel, Südpol or Frappant in Hamburg or outside of town (Club der Visionäre/ Berlin, Bassiani/ Tblisi...)- there is quite a lot of things that Matthias has accomplished. And we are very happy to present his latest installment – four raw and gritty tracks, deeply driving yet bouncy, wobbly at times and definitely with a Curveball-appeal and no compromises.
Smallville 77 will be released 4th of September 2026 with a full cover artwork from Stefan Marx.

Kicking things off, Suavy AF sets the tone with a sensual, groove-driven cut that balances raw energy and playful finesse. Tight drums, cheeky edits and a laid-back swagger make this one built for both heads-down listening or late-night dancefloor moments. Lemon & Mint, showing they're not here to play it safe.

On the flipside, Synkro takes the original into deeper territory, stripping it back and reshaping it with weighty low-end and a more introspective swing. He offers a more hypnotic take that hits just as hard in its own way. A perfect counterbalance that rounds out the release with class!

2026 Repress

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.

Jewel Kid debuts on Rekids with the ‘Explicit Behaviour’ EP. Malta’s Jewel Kid debuts on Radio Slave’s Rekids with the ‘Explicit Behaviour’ EP on 14th August 2026. It follows two decades carving out his place in the House scene with releases on labels including Abode and Toolroom, while heading up his own Alleanza imprint. He was a winner of the Carl Cox Worldwide Remix Competition and a recipient of the Best Dance Production award at the Malta Music Awards, while his music routinely dominates charts such as the Beatport Top 10.

The title track of Jewel Kid’s ‘Explicit Behaviour’ EP opens with swirling synths, sirens and filtered vocals before erupting into chunky drums, classic piano stabs and crisp percussion, while ‘In The Dance’ channels early Chicago infl uences through hypnotic vocal hooks, tense synth work and bold analogue grooves. Closing cut ‘The Tribute’ rounds things off with rolling drums, sweeping filters and fuzzy synth textures that steadily build pressure into another heads-down dancefloor workout.

In the early ‘10’s the WPH Summer Special was a yearly tradition: a stamped vinyl only releases featuring lost tracks, one-off collabs, dreaded digital only gems, etc. Some summer specials were so hot we released them in the winter to battle the cold…

Guess what? It’s back! Four killer tracks on one slice of vinyl. Satoshi Fumi remixing Ian O’Donovan to devastating Detroit-styled effect, Red D taking things deep with some dreamy deep house magic, Fabrice Lig going from ‘Border 2 Border’ on vinyl with Red D & Lady Linn and then Uit De Hoogte teaming up with Lefto for an oldskool house jam that will only be available on this release.

If this doesn’t get your heat up…

Ame: Thanks for ‘Border 2 Border’

Frankey & Sandrino: Great music in here, thanks!

Ben Sims: Ian O’Donovan one…asap!

Axel Boman: The dancefloor is open indeed.

Terre Theamlitz: Thank you for ‘Sweet Synthie Pauline’.

Simon Caldwell: Lovely E.P. of reminiscence!

Satoshi Fumi: Cool pack J

Red Rack’em: Love the Satoshi Fumi remix.

Severino Panzetta: Grooovy!

Jimpster: I can imagine the Ian O’Donovan working nicely. Classy stuff!

Harri Subclub: Play and support from me.

Massimiliano Pagliara: Great tunes!

The indie pop band Amelia And The Housewives are from Brighton, England — a fact they never tire of emphasising. According to urban legend, the band was formed in May 2024 by Amelia and Lola after the two met at a Julie London/Peter and the Test Tube Babies tribute night at the local Valley Social Centre. Accompanied by their backing band, The Housewives – all male – the two set out on their mission to take fun seriously. This went pretty well: after only one gig, the legendary Damaged Goods Records offered the band a single release. In April 2025, the band debuted on the label with the 7" single 'Maybe"/"Shattered", two very British-sounding, jangly, catchy indie pop songs with a slight hint of melancholy. The songs mixed 1960s pop harmonies with 1970s punk energy perfectly. In October 2026, the band released their eponymous debut album on INH Records, preceded by the single "Narcissist", accompanied by a humorous video.



The Christmas single that Amelia And The Housewives recorded for the Snowflakes Christmas Singles Club showcases the band's musical diversity. On the aptly titled "Snowgaze", the band slows things down and takes a more rocking approach to their music than usual, while retaining the jangly guitars and harmonies. While the lyrics seem to be a simple call to have fun at Christmastime, there is a deeper meaning behind them, revealed by the melancholy dripping throughout the vocals and music. What's more, the song features not one, but two guitar solos!



For the B-side, the band chose to record the hymn "Make Me A Channel Of Your Peace", which is generally attributed to St Francis of Assisi, but was most probably written by the French priest Father Estelle Bouquerel in 1912 – although the band claims the prayer is much older and was written by Jesus Himself! Whatever its origin, this plea for peace has always been a popular hymn in times of war and global unrest, so it is fitting to record it in the current troubled times. The two best-known modern versions are Sinéad O’Connor's recording for the Princess Diana tribute album and Susan Boyle's recording for her 2010 Christmas album, both of which are based on an arrangement originally recorded in 1967 by South African songwriter Sebastian Temple. Using only her voice, Amelia captures the hymn's delicate nature and spiritual essence perfectly, radiating the hope it conveys.

Since his 2013 debut album, Body Issues, Max Ravitz—better known to you and me as Patricia—has been zeroing in on the kernel of an idea. Across seven albums for labels like Opal Tapes, Spectral Sound/Ghostly International, and Acid Test, he’s applied his hand to a lean, focused vision of electronic music, paring away excess to lavish attention on carefully sculpted acid lines, stealthy drum programming, and warmly emotive melodies. For all their restraint, though, his tracks could never be called merely rote or efficient; even at their simplest, they’re steeped in atmosphere and shot through with layers of mystery. Now, on his first record for Balmat, he strips things down even further, revealing the ambient essence of his music.

Across eight tracks, he pours everything he has into the most minimalist music of his career. Many tracks
seem to have been made with just one synthesizer patch and some carefully applied effects—a honing of
his materials that brings the nuances of his music to the fore as never before. Elastic pitches warp and drift; fleeting harmonies bring out new dimensions in his synths’ timbres. “Murmuration” sounds almost like
Baroque music in its lithe, undulating counterpoints. “Birdsong” takes a classic choral pad and stretches it
horizon-wide. And songs like the closing “Yearn” allow the expressive dimension of his music to fill the
frame as never before.

The title Songs for Josephine pays tribute to Max’s wife. For years, she’s told Max she’d like to hear him
make an album without drums; he assembled these songs over time, always with her in mind. “Even with
my beat-driven music, I’ve gotten a lot of comments in the past about the ambient textures tucked into
those tracks, so I feel like people have been drawn to that aspect of my music for a while,” Max says. “It’s
been an interesting change of pace making a record with that side of my sound as the focal point.”
For listeners familiar with Max’s music, the effect may be uncanny: This is Patricia through and through, but heard in a whole new way.

—

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.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

Chicago native Ed Nine delivers another slice of that unmistakable Windy City sound on Four Framed Music. Born and raised in Chicago, his music draws directly from the city’s soulful house roots, raw, authentic, and built to move floors.

No Boundaries EP captures exactly that balance, classic influences with a sharp, modern edge. No gimmicks, just pure Chicago energy across four club-ready cuts.

The A-side hits hard. H2O rolls deep with heavy drums and an emotive vocal that cuts through the groove, while The Boundary locks into a tight, driving rhythm that doesn’t let go.

Flip it over and The Rhythm keeps things flowing, built around a swinging, soulful groove with jazzy key elements. Closing track Ecstatic lifts the mood, layering warm musical elements into a satisfying, feel-good finale.

Four tracks, straight to the floor, Chicago doing what it does best.

2026 Repress

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

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

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

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

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