Search:through

Australian label Nightime Drama builds on its assured discography with a new EP from Dutch artist Stefan Vincent, while one half of Artefakt aka Nick Lapien assumes his Metropolis alias for a remix.
Stefan Vincent has a decade long career that has taken him to labels like Dynamic Reflection, Anagram and Traut. Here he offers Exigent Mistress, a cavernous and dubby minimal techno cut that has warm, gooey bass and drums interwoven with each other to hypnotic effect. The Metropolis remix is a mind melting affair with warped and bendy synth lines looping over and over and taking you deeper down the rabbit hole.
Dissociation is the next original and is a more journeying techno cut that looks to the cosmos with its swirling sci-fi pads and sense of edgeless infinity all run through with a soft sense of acid. Last of all, Grey Haze is a skeletal groove with deft and delicate sound designs, dreamy pads and suggestive percussive sounds that suspend you in mid air. This, then, is an EP of high grade and mindful techno.

Infinity is the new release by Melbourne-based Leo James, and the second Patience production. Leo scratches a longstanding itch and delivers two sidelong excursions that inhabit a similar sonic space but spin off in opposite directions on the continuum.

Desert Nightflower hums with vitality in a seemingly lifeless landscape. Impressionistically tracing the lifecycle of a flower’s bloom in the desert night – from the searing afternoon sun through dusk’s chill, the midnight blossoming and symbiotic relationship with travelling bats, through the blue hour comedown to first light – Leo employs vibrant, buzzing electronics, plaintive strings and levitating clarinet to illustrate beauty’s brief conquest of nature’s harshest environment, with vividly evocative and deftly moving results.

After Desert Nighflower floats completely off the grid, an ever-present kickdrum drives Infinity’s near 20-minute trip into timelessness. Sharing Side A’s subliminal synthesised hum and free-form clarinet, Infinity moves fast and firm down a dub techno dirt road towards the end of time. As elements drop in and out of the mix, Infinity builds momentum to a pulsing, cathartic peak of poignant piano, ethereal keys and lucid clarinet expressions.

As an avid nature enthusiast, spatial awareness looms large in Leo’s work. His solo releases on Berceuse Heroique, Neubau and his own label Body Language have been inspired incarnations of techno, EBM, industrial and wave.

Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

The second part of 'Path Integral' paves the way for six new tracks. Ready to be discovered. Ready to be played out. Ready to hit the zeitgeist and ready to give a set an advanced whiff without sounding pretentious.

Techno stalwarts Heiko Laux & Joel Mull return to Drumcode for their first outing since 2016.

Friends and collaborators for over a decade, Heiko Laux and Joel Mull continue their fruitful partnership with a searing four-piece work. ‘Centipede’ is a thematic follow-up to ‘Rooter’, their last atmosphere-heavy production that dropped on Laux’s Kanzleramt imprint in 2017. A year earlier they teamed up for the vinyl-only ‘Munch’ EP on Drumcode Limited that explored subterranean techno grooves.

Their latest work was created during an extended stay at Mull’s home in Stockholm while Laux was visiting for a show. The evocative ‘Contour’ brings the EP into focus, as delicate strings set an atmospheric tone. The title track ‘Centipede’ follows, a track tailor-made for deep Sunday afternoon rave explorations as a menacing riff runs throughout. ‘Bullet Ant’ is driven by industrial percussion and brain-bending synth effects that dip in and out throughout the muscular work. ‘Centipede (Morph)' follows on from its namesake, teasing out some space and introducing melody to the palette for a deep late-night impact.

Kasper Marott is featured on the second release by Courtesy’s imprint Kulør, a label whose introduction to Copenhagen’s fast techno scene, Kulør 001, contributed a long-sought spin on contemporary techno. With his Forever Mix EP, Marott offers a 14-minute musical expedition through the slower-paced “Drømmen om Ø (Forever Mix ‘19)” and a personal take on his hometown’s accelerated blue euphoria with the floor-crushing “Sky Dreams”.

Artwork photography is by the Japanese artist Yoshinori Mizutani, and the vinyl will come with an A2 poster. Graphic design is by Spine Studio.

Veerus makes his Drumcode debut, after an impressive contribution to Truesoul's VA EP in 2017.

The Italian has built up an impressive discography over the last decade, dropping records on labels including Terminal M, Octopus, Filth on Acid and his own Le Club imprint. His collaborative with Maxie Devine 'My Train' was a highlight of Solomun's classic Boiler Room in Tulum, which has clocked 37 million views. In late 2017 he linked up with Brits OC & Verde for the fantastic 'Naaki' that featured on Truesoul's first Various Artists EP, ensuring he was an artist well and truly in Adam Beyer's sights.

His maiden outing for Drumcode mines 20 years of history, taking inspiration from classic trance and acid from the '90s, which he distils to create powerful modern techno works. 'Hypnosis' was a huge highlight of Beyer's Awakenings show at Gashouder during ADE. It's characterised by an engrossing call-and-response dynamic Veerus builds between the 303 acid warbles and the melodic stabs that run throughout. A track custom made for big moments. 'Apocalypse', like its name, is more menacing. Veerus constructs the work to mimic the dramatic theatre of a gladiatorial scene in a film, as heart-fluttering chord progressions, a piercing synth line and dystopian melody mark this memorable track.

To Celebrate The 6th Anniversary Of The Agency, Rotate Prepared A Hefty 4xlp Compilation Featuring Its Key Artists. 'rotations Ii' Is The Seven-chapter Follow-up To rotations I' Out In 2016 And Features Tracks From Most Of The Current Music Crafters In The Rotate Family: A Collection Of Personal Musical Excursions And Peculiar Studies Of Rhythm And Sound, From Artists Full Of Wit, And Grit. 'phase Five' (a1) Is Yuzo Iwata's Debut On Rotate And, Without Surprise, Is A Showcase Of Sonic Wizardry That Sets The Tone To The Entire Compilation With Its Dreamy (and Almost Delirious) Atmosphere And Marching Organic Groove. 'aphasia' (a2) Has Anestie Gomez Shifting The Gears To A More Minimalistic Sonic Palette Of Razor-sharp Drum Programming, Sophisticated Swing, And Deep Acidic Low-ends. The Flipside 'hypnosis' (b1) Is Leiris's Debut Solo On Rotate And A True Study On Reduced Raw Grooves And Abstract Sound-design, Wrapped In Amidst Of Hypnotic Mystery. 'partenaire Particulier' (b2) Brings Back Leiris Together With Ben Vedren As "monkey Nenufar": A Spellbinding, Steady-beat Ride Full Of Joyful Chords And Filtered Echoes For Certified Euphoria. Levi Verspeek Kicks The Flip-side With 'paying 420' (c1), A Focused 4 By 4 Excursion Focused On Groove And On-point Sampling Of Minuscule Percussive Loops Teeming Around A Central Pulsating Bassline. Funky, Vibrant And Full Of Emotion, Pit Spector's 'back From Cdv' (c2) Is A Love Letter To The Esteemed Club Der Visionaere, And An Ode To The Micro-house Aficionados, Especially Those With A Soft Spot For Latin Rhythms. Denis Kaznacheev's 'poromechanics' (d) Is A 15-minute Sonic Delirium Through Startling Soundscapes, Sweltering Rhythms And Barely-sane Micro-sampling, Ultimately Setting A Hypnotic, Enigmatic Tone To The Closing Of This Compilation. "rotations Ii" Is A Versatile Comeback To This V.a. Series Where Rotate Artists Can Be Themselves, Loyal To Their Own Sound And Their Very Distinct Personalities.

London's Release/Sustain imprint returns this April with a four-track package featuring material from Eduardo De La Calle, XDB, Joey Anderson Moody Waters feat. Carolina Damas.
The Release/Sustain imprint has gone from strength to strength over the years, welcoming the likes of Alton Miller, DJ Aakmael, Benjamin Brunn, Losoul, Norm Talley and many more respected names in underground house and techno over its past twenty nine releases.
Here we see this continue with some more welcome additions, first up is Eduardo De La Calle with 'The Protosoul' and as always the Spanish artist offers up a perfectly crafter slice of hazy, groove-driven Techno, led by bleepy arps, winding stabs and robust analogue rhythms. XDB then offers up heady, subtly blooming leads, pulsing subs and shuffled drums with 'Another Night' next.
Opening the flip is New York's Joey Anderson with 'Drum Play' which as the name suggest sees the percussive aspects dynamically evolve throughout amongst choppy bass hits, stutter arpeggio blips and warm string melodies. Moody Waters then teams up with Carolina Damas, vocalist on anthemic house cut 'Sueno Latino' for 'Acid Lovin'', edging into deeper territory with ethereal pads, crunchy drums and squelching 303 licks while Damas' soft, spoken-word Latin vocals wander within.

The sixth release of Form and Function, is the second one of the Function series. This time it's Qindek who provides his debut EP on the label. 'Reach For The Cosmica' is a lovely journey through Qindek's world. It's the perfect combination of both abstract and functional. The weird meets the wonderful. The package is topped of by Setaoc Mass who does an incredible job remixing Takes A pad.

On the A-side, the first track is 'Climate Shift'. A track that tells a story through dubby elements and chords, backed by a powerful and thumping low end. A movement of continuous energy and subtle but noticeable changes which have an impact on the track as a whole can be seen as the precursor for cosmic endeavors.

Next up is 'Reach For The Cosmica', the second track of this release. It's an epitome of the soundtrack of traveling through space. The minimalist build up tells us about how the journey just started outside of the atmosphere, transitioning into more depth that has been inaugurated by a sound that is the sonic equal of the rocket engine. As the beginning journey develops, there are few sudden bursts of power, together with the presence of the perpetual powers that cause the final move to outer space.

The arrival in outer space brings us to the 3rd part of the release and the first track of the B-side. Setaoc Mass gives the EP it's the concluding boost that gives us that last drop of power before the arrival. Elements of the original are still to be found, whilst given a little twist and a lot more of dancefloor energy. All while keeping the pace up to enter the final chapter of the journey.

'Take A Pad' exactly asks us what we need to do. Finding the ultimate balance between speed while preserving the right amount of power, is how sub-bass is working in harmony with the percussive elements.

Space is calling upon us with delicate voices. A beautiful ending of a classy and well crafted EP by Qindek.

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap

Kastil and I-Real have been releasing joint efforts since 2014. The occasional duo have perfected the boisterous techno they hold dear, and showcase their new approach on the gloomy 'Black Birds All Over' and the audacious sounding 'Skandha'.

'Black Birds All Over' is a lurid sounding effort that revolves around a monotonous roar and skillfully places drums and fx sounds that cut across the spectrum like daggers. Canadian duo Orphx delivers an enigmatic version of 'Black Birds All Over' that uses far-away pads to generate a more uncanny mood.

'Skandha' is a piece of nonconformist techno that uses broken drum patterns and eerie fx screams throughout. Order & Devotion owner Kwartz reworks 'Skandha' to a recognizable and powerful dark dancefloor version.

'World' is the debut album dreamt up by Barcelona based DJ / Production duo Memorial Home. Comprising of Paul Roux (France) and Jeremy Pinchasi (Belgium), 'World' is the exciting result of their shared desire to push the limits of their own brilliant musical foresight. It's an ambitious 20 track longplayer which effortlessly showcases the incomparable sonic space shared between both musical masterminds.

Sitting somewhere just to the left of Nicolas Jaar, Radiohead, Massive Attack, Mike Dehnert and Ostgut Ton, Memorial Home has managed to craft an album absolutely unique to their sound, impossible to categorise and sure to catch the attention of music lovers of all shapes and sizes. Techno without a dancefloor, experimental electronica fit for the warehouse raves. It's an exciting, perfectly confusing album which simply works wonderfully.

Heavily textured in incredible atmospherics, dub effects and crisp, clear percussion, 'World' spreads over an excellent array of individual tracks full of groundbreaking musical magic. Incorporating a stunning fusion of live instrumentation and electronic craftsmanship, 'World' is an audio adventure into emotive soundscapes, with a clear focus on the subtle saturation of melancholy. It's a soundtrack for a dystopian film yet to be written. A sonic painting for the coming winter months where the trees are all but dead and frozen; and the ground a thick layer of glowing white snow.

Memorial Home are the founders of the independent label Rapid Eye Movement, which has seen a breadth of incredible EPs riding the balance between experimental Techno and introspective electronica. They first met by random chance in their newly adopted home of Barcelona, Spain. This unexpected encounter quickly developed into a full-fledged musical kinship through their shared interest in crafting cinematic, experimental techno music. Each release from the label and duo showcase their clear passion to unearthing sounds beyond the expected. With their debut LP about to drop, the future is looking certain for the duo, the label, and the changing face of modern day electronic music.

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

Funk and soul at its finest. Two Chicago classics from the Gene Chandler vault get an official remastered, reissue exactly as they deserve to be.

On the A side, 'I'll Make The Living If You Make The Loving Worthwhile' combines heavenly orchestral flair with Chandler's sweeter than sweet vocals. That early 80's influence weaves it's way throughout with a healthy dose of slap bass bringing a flavour of funk to the fore.

Take to the B side and Chandler offers up a more disco focused track, complete with a killer boogie tinged bassline, sensuous keys and strings of stratospheric proportions. Those silky-smooth trademark Gene Chandler tones keep the iconic soul running deeply through the veins of this 1980 number.

Any self-respecting music lover deserves this remastered version nestled in their collection.

Sublunar, the record label founded by Sciahri and Dagdrom closes his 2018 with a brand new EP from the Swiss based artist Nh. After his debut EP "Nihil", Nh is back on Sublunar with 5 new tracks of psychedelic, sinister and mind-bending techno.

The record starts with 'Outre', with his buzzing textures and tense, bleeping melodies while the tick kick drum hammer intensifies his presence. 'Spirales' is journey through a deconstructed blackhole, with the impressive and reverberating drums dominated by a sense of disorientation. Last track on the A-side is Vague, where the listener is put into an tight spiral of paranoid thoughts while the energy slowly grows as different tones come and go. The B-side opens with 'Non', deep hypnotics are paired with a dense, powerful and pounding kick drum. Portrait closes the EP, a foggy and heavy atmosphere that reach his climax before collapsing into a blissful ambience.

For the 10th release label owner Barbara Preisinger is gathering seven unreleased tracks on two seperate 12inches, by previous Slices Of Life artists as well by producers who have a relationship to the label through frindship, events and personal support. Each track presents the personal unique style of it´s producer, but all have a feeling for warm sounding organic house grooves in common, what Slices Of Life stands for since the beginnings in 2009.

6 weeks after SOL10.1 hit the stores with contributions by THE MOLE, BAAZ, DANA RUH and JOHN TEJADA, the 2nd part of the SLICES OF LIFE compilation celebrating release number 10 is following: The A side of SOL10.2 is dedicated to the legendary Berlin producers and Dj duo CAB DRIVERS: - A Complex Situation' catches us with its irresistable swinging groove and filigrane synth lines. OSCAR SCHUBAQ, DJ, Producer and co-owner of the label Tardis Records, starts the B-side with - K-Beat', a rough jackin house tune, which takes a surprising turn to a sunny sounding swing during the 2nd part. The great finale of SOL10 comes from the parisian Deeply Rooted label owner and extensive vinyl collector DJ DEEP. With - Spices Of Life' he created a wonderful, atmospheric and deep piece of music carried by rolling basslines and playful melody fragments.

- Dj Deep and Cab Drivers has been worldwide very well known and respected producers, label owners and DJ´s with a large fanbase since the 90 ies. Osacr Schubaq is co-ownung the label Tardis together with Eli Verveine

- first 500 copies come in dark red printed sleeve

Enzo Siragusa rounds off another incredible summer with a highly anticipated project, a collaborative FUSE EP with Martin Buttrich. Striking a perfect balance between Enzo's UK rave roots and Martin's matured finesse, the 'Three Squared' EP nestles neatly within FUSE's distinct sonic palette.

Part of the FUSE family from the very beginning and held in high regard by Enzo, the two solidified their watertight bond via the line ups and studio sessions they have enjoyed together over the years, a bond that shines throughout this release.

When Enzo produces music for his label he always has the FUSE dancefloor in mind, aiming to create those immersive experiences for the crowd that he had as a youngster, across many London raves in the mid 90's.

The 'Three Squared' EP deftly encapsulates this approach, from 'Dangerman', a track that melds Jungle's original elements with the sound of today's house scene, via 'Lifted Spirits' adorned with touches of old school Martin Buttrich, to the darker and engulfing 'Apache', a vinyl only exclusive for the wax heads.

This release also marks FUSE's largest London collaboration to date, as they take over Tobacco Dock's Car Park, where these tracks will be doing some serious damage. At this point the two collaborators will meet again, as Enzo invites Martin to play a live set.

Positive Centre marks the 5th release on his In Silent Series label
with 4 tracks of weighted mechanical workouts that feature his
honed atmospheric style with brooding scenery and sharp
percussive accents. Isolated Loop takes a crunched and spat out
growl of an acid synth and blends it with ever developing drum
machine patterns as a weaponised techno tool. Tension Arm builds
on this with sharp percussion piercing over a hard edged bassline
and atmospheric scenery. Idle Roller is a deep, sub-aquatic rhythm
journeying to parts unknown with subtle switch in rhythm keeping
the momentum going through this textured sound world. Sum
Tolerance fractures open with stretched sounds of otherworldly
instruments, sludge laden beats and humming bass pressure.

Some time around 20 years ago, the artist known as Dub Surgeon made an absorbing album of beautiful dub infused with ambiance, found sounds and horizontal rhythms. The Lost Future was recorded at the former Amsterdam Film Academy where Dub Surgeon. The recording engineer for the project was Ricardo Villalobos. Dub surgeon and Ricardo Villalobos then mastered it together, putting it through several vintage mixers and recording it to 2 inch tape. Then, tragedy struck: a storm surged and ignited a fire that ravaged the studio. The master copy was thought to have been lost forever. Dub Surgeon stopped making music and disappeared into the shadows after just two EPs on Future Dub in 2002/3. But one day 15 years later, totally out of the blue, he received a demo of The Lost Future. "Pay attention to this," it said. Attached was a demo version of the long lost album and now, finally, it has a perfect and impossibly poetic home on Dubai's Ark to Ashes, which is named in homage to the story of Lee "Scratch" Perry burning down his Black Ark studio to rid it of demons. Sounding as fresh as ever, The Lost Future is an authentic dub experience with a story as special as the music itself

Music From Memory return with a further six tracks from Dutch musician Richenel. Continuing with recordings taken from his debut album 'La Diferencia', originally released in 1982 on the cult Amsterdam cassette only label Fetisj, the tracks on Music From Memory's second EP 'Perfect Stranger' includes alternate takes drawn from Richenel's personal copy of the album alongside a further composition which didn't make it onto the original Fetisj cassette.
.
Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam's underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the 'La Diferencia' sessions reflect a unique mix of punk aesthetics with a synthesized bedroom funkiness.

A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam's musical and cultural history and one that is deserving of a much wider audience.

'Perfect Stranger' is co-compiled by Orpheu De Jong

Crafting his own sound through years of intense musical exploration, the established Romanian artist delivers two otherworldly pieces, set as a tribute to his great inspiration and all time classics, Swayzak. 'Love for my teachers' is Half Naked Dog's second release, featuring Vlad Dinu and Swayzak as the remixer.

Brothers Harvey and Ryan McKay return to Drumcode with their dynamic Alias project. We were introduced to Alias last year when the McKay brothers dropped the impact-heavy 'Visions' EP mid-way through 2017. The duo followed with a lauded contribution for Drumcode Live and the buzz from fans was palpable. The follow up sees the pair in powerhouse form.

The title track 'NRG' is an attitude-packed tour de force; compromised of aggressive snares, warped vocals and a tension-filled break, it has been smashed by Adam Beyer for the last six months. 'Orange Sunshine' pulls no punches as it dishes out apocalyptic acid paired with the sibling's startling drum work.

'The Event' rounds out the EP and is an exhilarating affair propelled by uplifting synth lines and a buzzing energetic bassline.

(180 gram pressing, black vinyl) Musique Pour La Danse presents CRON aka TODD SINES 'Scalable Architectures', the classic 1995 EP remastered. For fans of Dopplereffekt, Drexciya, Keith Tucker, Mid-West Electro A highly sought after EP equally blowing your mind and the floor. Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX216, a Yamaha DX 100 and an Arp Avatar in a vibe completely different from his .xtrak alias or productions released under his own name.

The record visual presentation was equally important as it features 3-D objects created Todd Sines through intentional misuse of mathematical functions, creating unique forms and 'scalable architectures'.

Please find the complete 1995 liner notes below for more informations. Comprising of an intro + five highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts that are each an exploration of a 'less is more' approach to production.

DUAT (pronounced "do-aht") was the realm of the dead in ancient Egyptian mythology. The deity Osiris was believed to be the lord of the underworld since he personified rebirth and life after death, being the first mummy as depicted in the Osiris Myth. The underworld was also the resi-dence of various other gods along with Osiris. The DUAT was the region through which the sun god Re traveled from west to east each night, and it was where he battled Apep, who embodied the primordial chaos which the sun had to defeat in order to rise each morning and bring order back to the earth. It was also the place where people's souls went after death for judgement, though that was not the full extent of the afterlife. Burial chambers formed touching-points be-tween the mundane world and the DUAT, and the akh, the effectiveness of the dead, could use tombs to travel back and forth from the DUAT

repressed !

Ben Rau has had a great start to 2018, successfully launching his new label META , and recently returning from his latest tour of Australia.

It is obvious Ben soaked up the sun drenched culture and musical inspirations down under, as his latest INKAL release "Systéme Solaire" showcases Ben's diversity in the studio, and a more melodic side to Ben's sound that perfectly balances musicality while maintaining underground credibility, amounting to what is arguably Ben's strongest work yet.
With multiple represses on each INKAL release so far, the momentum is building for Ben and INKAL004 will only serve to enhance his ever-burgeoning reputation as a purveyor of dancefloor-ready weapons.

The EP kicks off with the title-track A-side "Systémes Solaire", a track which displays all the trademark influences Ben Rau has become synonymous for , as expert drum programming glitchy percussion and a rolling funk bassline combine to provide the groove.

"Systéme Solaire" has hooky elements in abundance, as a combination of chord work and constantly evolving synths team up to create a memorable, peak-time bomb. The B-side, "Expand", continues in the same vein, as a short, bubbling bass stab drives the track forward and modulates to provide an acid vibe, joined again by luscious piano chords and licks and the Expand' vocal, which switches up from a whispering atmospheric to a heavily effected, pitched tone that keeps interest throughout. All the while accentuated by fractured groovy percussion, piano licks and open hats that shine over the whole track.

With big hitter support on the EP already both INKAL and Ben Rau's career continue to go from strength-to-strength. Grab your copy of 'Systémes Solaire' when it drops

It's time for a fresh new release from the Apollonia stable, and this time around we unveil four groovy gems from Shonky and Tolga Fidan working together for the first time, giving us a winning combination and one which is sure to satisfy fans of both artists. The first track 'Dynamo' sets the tone for the EP; the bassline has a deadly groove, while playful effects dance around at the top end creating an immersive atmosphere. Intergalactic vibes. After that comes 'Bastille', which features a similarly jaunty rhythm with a variety of bleeps, chirps and twangs layered on top on each other to give the track its depth and character, while a menacing b-line does its dirty work in the low end.On the flip we get 'Micro-Ondes', a mysterious into the undiscovered lands of planet funk. You feel as though you've been transported to another world, where warped creatures lurk, calling out for your attention. As for the bass, its rhythm is utterly contagious. Finally 'Americana' completes the collection, maintaining the unusual use of sound prevalent throughout the EP it utilises a myriad distorted instruments. Support in the low end comes via a tough, punchy bass riff.

Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg, and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterised by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always on the lookout for new ways to trip himself up. You can hear Bailey revelling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars — and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes The Shadow. Throughout, the spirited interplay between laconic, analytic wit and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive and gripping.

Discográfica 71 is a new record label which explores the borders of our beings through sound, movement and perception, a landscape full of darkness, strong and experimental shades.

The first reference of the label will be handled by Some Science, after his previous work, 'The Universe of Gödel', the duo returns to the scene with 'Shapeshifters', three-tracker EP, where they express their purest sound, a landscape full of darkness, strong and experimental shades,where they show their 'inner chaos' and their more inspirational
moments.

Mannequin's 100th - a comp looking forward featuring an international and serious cast... BIG TIP!
The modern synthwave scene would be significantly poorer without the keen ear and tireless efforts of the Mannequin label run by Alessandro Adriani. Geographically situated within the nerve centers of Rome and Berlin, yet with a musical spirit that easily transcends these boundary lines, Mannequin's back catalog has been an important component in the modular assemblage that makes up electronics-based independent music in the 21st century, and an important reference point for those who need to defend against the lazy accusations that this such is purely retro' in its form and content. Recent accolades and accomplishments - being named Resident Advisor's label of the month' for May of this year, starting the 'Death of the Machines' 12' series, and being given the 'green light' for bi-monthly parties at the Säule room in Berghain - have been earned through Mannequin's unflagging commitment to sonic diversity and Adriani's own realization that the anxious and sharp-edged sounds associated with, say, the Cold War of the 1980s can convey a completely different message today. Adriani says it best when claiming that there is no such thing as 'old' or 'new' music...only the music of now'. With this cogent statement of intent, Mannequin continues to go on exploratory missions to find the best and most relevant aspects of genres like acid, industrial, EBM, post-punk, coldwave and still more.

Which brings us to Mannequin's newest project and 100th release overall: the Waves of the Future double LP compilation, which itself is not a conventional retrospective collection. Case in point - none of the artists appearing on this collection have put out their own releases on Mannequin yet, despite acting as Mannequin's unofficial ambassadors (via DJ sets and other means). This makes the set even more compelling rather than less so, since it shows how Mannequin fits into a larger picture that includes other scene leaders and label owners including Beau Wanzer, Willie Burns (WT Records), Silent Servant (Jealous God) and Ron Morelli (L.I.E.S.). Of equal importance is how Waves of the Future projects a sense of aesthetic resilience and continuity, showcasing just how well the current artists allied with Mannequin employ and re-interpret the sonic lexicon that appears on that label's reissues of 'classic' acts such as Nocturnal Emissions, Bourbonese Qualk, Din A Testbild and Doris Norton.

However, none of this would matter as much if the music itself didn't have strong potential for lighting a blaze in the dark corners of the human imagination, and of course for forcing bodies into motion. Each track here pivots around a couple of key sound elements that seem to set the stage for the next track to come: see the sputtering / chopped ghost voices on Morelli's Charges Won't Stick,' which easily informs the slicing drone and authoritarian beat of Shawn O' Sullivan's Ill Fit,' which then lays down the emotional foundation for the sequencer-powered With You' from An-I & Adriani or the glassy landscape of Illum Sphere's Exhaustion'. Elsewhere, the wired mischief of Not Waving intersects easily with the spherical electro-funk and coded commands of Beau Wanzer. When all the disparate parts of Waves of the Future are soldered together, it perfectly illustrates Mannequin's non-linear philosophy and Adriani's suggestion that Mannequin listeners directly engage with the music rather than trying too hard to analyze or dissect it.

tested 'Then After' EP by New York duo Wild Dark.
'...Stemming from a partnership with two decades of experience behind them, Wild Dark takes on contemporary song-writing and gives it a unique, thoughtful, modern-take using a wide spectrum of electronic music to tell a story. The duo, comprised of brothers Corey & Ryan Negrin, stray from cold digital samples in favour of a warmer approach to writing music. This allows them to merge house, techno and natural vocal work into a cohesive concept that uses soulful yet charming songwriting to nurture a sophisticated palate of contemporary work...'
Then After EP includes two tracks featuring Alex Who 'When we first met Alex there was chemistry off the bat. With inspiration of being young and free, the lyrics and vibe to "Why Not"came together with ease. As the production progressed, the darker tribal elements came to life.
We wanted this track to resonate with the free spirited. This track tends to be a favorite of night.
"Born By The River", A Happy Mistake. The vocals, the elements, the soul, all stemmed from animpromptu recording and this beauty was born. With a list of organic household recordings,accompanied by a warm low end, we aimed to create a track that defied all genres.
"Talky Talkie" is the most club oriented track of the EP, with a persistent groove and synth elements that work perfectly on the dancefloor.
"I'll Wait" brings our bohemian flavour to shine, a track that's comfortable being played anywherefrom Burning Man, lost in the desert to the deep warehouses of Brooklyn's underground.
The digital release will include a special remix by Superlounge, a German duo known for their smooth house vibes. This is a must have release, available first on the label's shop online;

t r u e C o l o r s
A Brooklyn / London based record label that channels artist's most honest version of their
creations and shares it with the world through vinyl and digital platforms.

With every album project comes a proper remix pack. Marco Bailey has invited some of his most respected colleagues in modern day Techno to come up with an interpretation of two of Temper's
toughest cuts. ''Planet Mad'' is being reworked by Marcel Fengler and Andre Kronert. Fengler's rework is an adventurous take on the original and has a strong emphasis on rhythm.
Without loosing with the original idea, Fengler builds the rhythm section into a wash of bold drums and rich percussion.
Andre Kronert's take on Planet Mad pushes the track's idea into a different direction. Kronert yet again proves to be a craftsman when it comes to textures and builds.
While the recognizable bass sound of the original keeps thumping, atypical bits of FX are added to build on an unusual but very soothing atmosphere.
For the B side, ''Naga'' is being reshaped by Croatian master of electronics ''Petar Dundov'' and Rotterdam based fast riser; Koen Hoets.
Petar Dundov comes up with an esoteric take on ''Naga''. Whilst respecting the form of the original, Dundov goes one notch deeper with his wide array dub elements and feral hat sounds.
Koen Hoets delivers a more demure take on ''naga''. Whilst the rhythm section might not be suitable for all club situations, this is adventurous techno at it's best. Noteworthy fx and soul touching
strings that float throughout.

Fleisch is thrilled to present the debut of Stockholm's Dissocio Modus Trans, aka DMT, featuring four cuts of some of the purest, unadulterated acid ever to hit the streets since Orange Sunshine. In the words of Terence McKenna himself, sampled in the opening title track, "DMT is the strongest hallucinogen there is...", and DMT certainly hold true to their name as a pair of 303s weave a mind-altering journey through multiple dimensions of being. Driven and dirty techno beats form the rhythmic foundation while esoteric vocal samples lead the proceedings through the Tibetan Book of the Dead in "Origin/Destination" and "Bardo Thodol", and onward into the metaphysical mantra of "Trans Dimensional".

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus's synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.' - Ólafur Arnalds

The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.' - Janus Rasmussen

Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

Finally, the long awaited third part of the EXTRAWELT trilogy on Cocoon Recordings is on the way, and with this advance 12 release of 'Fear Of An Extra Planet (Blackout)' and 'Hail The Whale' we are given an incredibly strong first impression of EXTRAWELT's third Album. "Fear Of An Extra Planet (Blackout)' in particular, has the potential to become a monumental club hit. The title track from the new EXTRAWELT album is, strictly speaking, more than just a maxi-version, it's almost a separate EXTRAWELT remix of the original, fully optimized for the clubs. Arne Schaffhausen and Wayan Raabe have let loose a real bass and drum monster on us. From the very first second, the doubled-up kick bursts from the bassbins to signal the journey into this new EXTRAWELT adventure is underway. The acid-heavy bassline completes the pressure-packed arrangement until the track suddenly stops dead. Sometimes it's just so simple and effective to completely hit the brakes before re-energizing and building up to full speed again. The 12 version of 'Fear Of An Extra Planet (Blackout) 'is a powerful techno bomb and for us - one of the highlights of the year! The exclusive, non-album cut 'Hail the Whale", starts off a little more subdued. However, the cool old-skool cowbell intro with light Chicago house touches soon develops an energy through a driving electro bassline that shakes us from the initial calm. Although 'Hail the Whale' doesn't appear on the album, it perfectly represents the science fiction sound aesthetics on EXTRAWELT's new LP. Sci-fi FX, distorted vocals and dramatic synth lines envelop us in an extremely intense soundtrack atmosphere. From warp speed space travel to misty wastelands on strange planets and breathtaking pursuit scenes, 'Hail the Whale' conjures up all manner of images as it hammers from the speakers. To be honest, the notion of 'grand cinema' has already been used too

Here is the first musical highlight of Enough! Music in 2017. The label owners of Enough! Music will tell the next awesome story with their music project. The following releases are bind together with each other through the same tale. Each release gets you closer to the whole story.Enjoy listening to the invited third artist Basti Grub ( Hoehenregler,Desolat, Baile Musik). Four excellent and magnificent tracks from Danilo Schneider and Basti Grub. The different but affectionate selection is the secret of the whole EP. Enjoy our third journey !

As much as, in modern days, it has become increasingly difficult to pin things down to a specific genre this release brings very defined genres but also a refreshing feature, a constant change of energy in one single track, and most importantly, it all comes with this modern feel to it which indicates it is the new generation rising making justice to what Ultrastretch stands for, surfacing fresh and new talents. Signed by Austrian duo Foehn & Jerome.
The A side is of the EP consists of the genius idea that it is a relatively simple track, however, with the feel that so much is happening, the type when you listen to a loop but one you can listen to forever and not get tired of it, always the best sign. A rolling and constant bassline makes it into a super fat and rounded dancefloor groover, while on top you have these fragments of chopped up vocal samples in and out creating a sense of confusion, a mind drilling element is then complemented by very loose and fine hihats floating around.
On the B side starts with quirky minimal track with a galloping kick throughout, when the open hihats slam in with a vocal it quickly develops into a very happy and playful housy vibe and just when you are riding, the clap slams in now on a tighter hat sequence followed by the break and rebuilding, when it comes back however it adds another element changing the energy yet again, through introducing a synthline. The quirky frog sounding noises throughout certainly makes it a super witty track overall.

CRG007 bring back Cleric for his 3rd solo release on the label.

Manchester-based producer Cleric continues to grow through his own Clergy imprint with the label's 7th release, Rules Of Reality. The EP is an exercise in fully-focused. highly-distilled techno purity, leading first with a perpetuating drum groove offset against an icy stab on 'Unwritten Future'. Next, 'Unspoken Rules' channels the same minimalistic aesthetic into a more hypnotic mood, driving deeper down into a land of introspection with tension-laced percussion and hovering chords, whilst 'Unwanted Arrival' exhausts the pressure with its mind-comsuming acid pattern, followed by the more exposed, cinematic 'Beatless Mix'.

When we started Ilian Tape 10 years ago in 2007, we were both basically kids at the ages of 23 (Dario) and 18 (Marco). There was no plan behind it, no concept, no promotion campaign or any budget, but just an early vision of where it could go. We wanted to build something that lasts. After a few years of playing at parties and producing music, it was the next logical step to start a label. You can clearly see us growing up through the label in terms of artwork, compiling the records and handling things. We made some mistakes along the way and there are surely things we could have done better, but looking back after 10 years now it all makes sense as it was a natural and human development with all its ups and downs.It was always a very personal project, never about making money, but about creating a platform for music we believe in and building relationships with artists in a transparent and fair way. We really appreciate that we were able to work with so many great artists, who shared the same vision and trusted in us, over all the years. A while ago we moved away from the ordinary release info write ups, because in general writing about music is tricky and who isn't tired of the typical, full of praise for every detail of a record, release textsBut this might be starting to get boring for you too, so just buy this lovely triple vinyl package including a poster and download code, light one up and turn up the volume!One last thing though - we want to deeply thank our parents for teaching us to live our dreams and find out who we really are, our friends for the vibes and honesty, all the artists releasing on the label, all the supporters & fans for buying vinyl and files, all the DJ's playing out the stuff, all the diggers selling the stuff overpriced on Discogs, all the dancers working out on the dancefloors & all the clubs doing label nights over all the years.

Koichi Shimizu's contribution to the Holotone Catalogue 002 sounds like journeys from a ticket that exploded. Self organizing bodies without organs laying the blueprint for a soft machine spreading and fizzling towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. Drawing the tonal line from a cube to a tesseract, entering the Holotone realm.

With immaculate vocal turns and sleek production, Views is Drake's tour through the city that made him. A meticulous contrast to the off-the-cuff brilliance of recent mixtapes, he taunts adversaries with speaker-rattling anthems ('Hype,' 'Still Here'), revisits his humble beginnings ('Weston Road Flows'), and rekindles the seductive chemistry with Rihanna ('Too Good'). Those extremes—the Caribbean warmth of 'One Dance' and the icy lament of 'Fire & Desire,' the unflinching vulnerability and unapologetic self-assurance—make Views a riveting victory lap from Toronto's game-changing MC.

Based on the Irvine Welsh novel of the same name, the film version of 'Trainspotting' directed by Danny Boyle became a cult sensation. Focused on the heroin subculture of Edinburgh in the 1980s, the film is occupied with surrealism, black comedy and features a great soundtrack. This album includes tracks from Iggy Pop, New Order, Blur, Underworld and many more.

To celebrate the 20th anniversary of the iconic drama, the original soundtrack is being reissued on CD and vinyl. Having been out of print for a long time, the 180g vinyl features replica original artwork that includes special silver spot finishes throughout - front, back, booklet and picture labels, as well as bright pantones. There will be a limited run on orange vinyl before moving to black once sold out.

Music has always coursed through Roman Lindau's blood. Even if he weren't the accomplished producer and respected DJ he is today, the German audiophile would still be spending all his money on the stuff; giving over all his time to the art form. ''I'm a music junkie. I need music to live'' he states matter-of-factly. ''For me it's the elixir of life.''

Good job, then, that he gets to spend his ..

Roman Lindau is a German techno DJ, artists and producer, as well as being a core member of the infamous Fachwerk Records from Berlin.

Music has always coursed through Roman's veins ever since he was a young boy so it is no suprise that he became the accomplished producer and highly respected DJ that he is today.

In the late 2000´s Lindau became active in the Berlin electronic music scene, beginning to play music in clubs as well as producing his own music.
The first track he released in 2008 on his home label Fachwerk Records appeared in one the world famous Berghain Mix Compilations, mixed by Len Faki.
Following from this Berghain invited Roman to contribute an exclusive Track for Ben Klock´s Berghain Mix in 2009. After this success the gates opened for him to play regularly as a DJ at Berghain.

At the same time he continued to work on music for Fachwerk Records. He produced dance floor smashers like ´Crasse´ in 2011 and ´Rave on´ in 2014, which were charted by the likes of Ben Klock, Sven Väth & Chris Liebing, afirming his deserved place amongst the techno elite.

More recently in 2015 the well known Victor Calderone from NYC invited Roman to release on his label Matter+.

The reason why Roman is such a great DJ is because of the fact he knows what the people want! ''I love to dance and that's very important: as DJ you need to feel what the crowd want so you can help them to party and have fun.''
Combining a varied selection of raw house and techno in his sets, recent bookings have taken Roman across the world; from the hallowed techno Mecca that is Berghain to dark underground clubs as part of the recent Fachwerk label tour.
He has performed at every legendary Berlin venue, past and present from Tresor to Berghain, and it is this that gives Roman the edge above the rest. If you can do it there, you can do it anywhere!
From 2014 Till the closing he was a resident DJ at Stattbad, one of Berlins findest adress for Electronic Music.

Megastar Bruno Mars has unveiled his new album 24K Magic (pronounced twenty-four karat magic), with lead single of the same title. Written and produced by Shampoo Press & Curl, with additional production by The Stereotypes.
The last time Mars dropped an album was December 2012 - four years ago, an eternity for a pop star. He's surfed the intervening years like a pro, with two Super Bowl halftime performances (headlining in 2014, and a cameo last February with Coldplay and Beyoncé), not to mention the biggest-selling song of the past few years, his collaboration with Mark Ronson, "Uptown Funk", spending 14 weeks at Number One - tying for the second-longest run in chart history - and winning the Grammy for Record of the Year. To date, it's sold more than 12 million copies, been streamed nearly 2 billion times and made several dragons want to retire.
This is Bruno Mars. Six Number One singles. Thirty combined weeks at the top of the chart (44 if you count "Uptown"). Two albums, 26 million in sales worldwide, four Grammys and counting.
Throughout 24K Magic , Bruno Mars re-creates the R&B he fell in love with as a child - the likes of Jimmy Jam, Terry Lewis, New Edition, Bobby Brown, Jodeci, Boyz II Men, Teddy Riley, and Babyface.

The Label Owners Of Enough! Music Will Tell The Next Story With Their Music Project. The Following Releases Are Bind Together Witch Each Other Through The Same Story. Each Release Gets You Closer To The Whole Story. Enjoy Listening To The Invited Second Artist Digitaline (Cadenza, Get Physical, Raoul). Four Groovy, Glittering Tracks From Eveline Fink
and Digitaline are in the right direction in to your heart. The Secret Of The Whole EP Is The Concentrated Passion. Enjoy Our Second Journey !

Adam Beyer's Drumcode juggernaut attracts more fans and critical plaudits with each passing year. Holding firm on its future facing ethos, techno's number one label presents a new volume in its acclaimed A-Sides series with 20 prime tracks to signify its 20th anniversary.

Such is the volume of quality music Adam Beyer receives throughout the course of the year, releasing all of it would be impossible. Enter the blue chip A-Sides series: a chance for the quality-obsessive label head to issue a collection of outstanding tracks that couldn't fit in their regular EP release schedule.

With an eye on future talent, as much as the label's established roster of heavy-hitters, the compilation showcases the full breadth of Drumcode's multifaceted techno sound, equal parts inspiring and functional.

Led by the stealth techno funk of 'Nine of You', Beyer's deft collaboration with Mark Reeve, the compilation takes in exciting highlights from big guns such as Alan Fitzpatrick, Dustin Zahn, Bart Skils, Pleasurekraft, Luca Agnelli, Jay Lumen, Kaiserdisco and Gary Beck.

The rich vein of form displayed by emerging techno talent is similarly given prime position. Rising DJ/producer Boxia makes his Drumcode debut, fresh from a well-received warm up set for the crew at the hugely successful Junction 2 festival in London, while the likes of Enrico Sangiuliano, Juan Sanchez, Ian O'Donovan and Timmo also drop fire, establishing their credentials as some of the most promising talent breaking through the ranks in 2016.


Reinforcing the global scope of the label, artists such as The Junkies from Toronto and Layton Giordani from New York, prove techno is winning a place in the heart of the new generation of artists coming out of North America.

LYR002 'GDEP' sees Adam Stromstedt and Flord King split the credits with both producers getting one track on either side. A side 'SINBAD' by Adam Stromstedt is a 12 minute long piece that takes you through intertwining chord patterns and delay heavy percussions to create a multi layered low-end journey. B side 'Dapper' by Flord King is an already proven secret weapon of some of this scene's most influential DJ's. It kicks off from the first bar with minimal inspired percussion, dreamy chords and tight groove, a real cruiser.

Australian label Nightime Drama, run by Peter Fincher (aka Vibrio) and Shaun Franklin (aka Trebek) now serves up its second standout release of 2016. This four track affair comes hot on the heels of the last by Yoshihiro Arikawa, and is a second release on the label by Aussie live act, DJ and producer Trinity, with Steven Tang and Italian based Andee on the remix. Trinity has also released on OOC, Coincidence and Android Muziq and regularly performs all round Europe. His sound deep and cosmic, heady and hypnotic, as the fresh tracks here prove. Cascade Drive is seven minutes of direct and elastic house with spacey pads and driving drums carrying you through the cosmos. From the Earthmothern label and one half of RK's, Andee strips it back to a slick rubber kick drum then layers in a forceful acid line and icy hi hats to really get you under its spell. The longform groove is physical and cerebral in equal measure. The next original is Expansion, and again finds Trinity serving up a hi tech and soul infused deep techno sound that is lithe and liquid, smeared with great pads and truly timeless. Emphasis boss Steven Tang is the perfect man to remix given his style, and his version flips the cut into a more heavyweight and banging techno effort, but one that is just as littered with sci fi sounds, spaceship trails and intergalactic energies.

180gram vinyl release with full cover artwork

Eclectic, raw, diverse and deeply driving - these 4 tracks are pure hypnotic Hreno vibes. New Life! That is what has inspired and influenced this EP on many levels. New life brings new inspiration and new energy often in beautifully diverse and unpredictable ways. Everest. Positivity throughout, heights, strength, light, potential and future instantly come to mind, when listening to these songs. We are happy to present Hrenos second release on Meander as the follow up of his well received 2012 Frank Barns record. 180g vinyl release, comes with fullcover artwork illustrating traditional indigenous art from Borneo.

Fuckthegovernment.Ltd, a.k.a. F.T.G (Alfredo Trastulli) and Music Box head honcho, Marco Riff, return to the Skylax fold in 2016 with a cache of house nuggets for our listening pleasure. Their last venture on Skylax saw F.T.G collaborate with a bunch of his friends, resulting in some of the best tracks we'd heard all year, including the unforgettable Fuckthegovernment theme. Their tracks have been celebrated and hailed by some of the best DJs in the game, names such as Derrick May, Ricardo Villalobos, Raresh, and DJ Harvey. The bar set by the first record remains sky high, and somehow, these two manage to raise the bar even higher. It may be the biggest cliche going when talking about an album, but the duo certainly do take us on a journey, through the past and present of house music. It's a record not too dissimilar in tone to Paranoid London's from a few years back, but F.T.G and Marco strip things back even further than those guys did, in our opinion; The sound is more raw with less frills, and no track names to predispose feelings in the listener either. This eight track project is cohesive and elaborate, with movements through sounds both acid and jazzy, minimal and maximal. It explores sounds that came to prominence in famous house locales such as Detroit and Chicago over in the U.S., but the underground European influence is definitely present, from Paris to Berlin, and of course F.T.G and Marco's home of Italy. With this album, these guys add to the underground sound that has cultivated in the city of Perugia for years now, a place that has seen the likes of Simoncino and Nicholas hone their craft.Don't miss out on a piece of Skylax history!

Stefan Robbers is one of the most known and respected non-U.K.-based European techno producers, and (along with Speedy J) one of the only Dutch techno artists to reach a wide audience outside of Holland. Recording as Terrace, Florence, and under his own name, Robbers has been responsible for some of the most memorable moments in experimental dance music in the last few years, from the first release on the now-commanding D-Jax label (Terrace's 1990 EP 916 Beuna Avenue) to recent Terrace and Florence full-lengths released on his own Eevo Lute imprint. Although tracks have appeared through GPR and New Electronica as well, his focus since 1994 has been on Eevo Lute, likely in an effort to raise awareness about Dutch techno artists and which also prompted the astablishment (by Robbers and Speedy J's Jochem Paap) of a Dutch remix network. Most often cited in connection with the sort of "listening techno" associated with the Warp, GPR, and New Electronica labels, Robbers' recent releases have moved increasingly toward the incorporation of du jour electronica hybrids such as trip-hop and ambient jungle, although his trademark mixture of intricate, off-kilter rhythms and sweet melodies has remained. Along with Robbers' own releases, Eevo Lute has also issued material from David Caron, Max 404, and Wladimir M., as well as two label compilations (Agenda 21 and Agenda 22). A remixed version of Terrace's 1996 Konnekt LP, entitled Re-Konnekt, was released in 1996, featuring Speedy J, Global Communication, Sean Deason, Kirk Digiorgio, Orlando Voorn, and Thomas Heckmann.

The label owners of Enough! Music will tell a story with their music project. The following releases are bind together witch each other through the same story. Each release gets you closer to the whole story. Enjoy listening to the invited first artist Ilario Liburni.
Four trippy, groovy and pumpin tracks from mastermind Ilario
Liburni behind Cardinal / Invade Records and Enough! Music
labelhead Danilo Schneider. A - Piece Of Each EP' is a stunning
liaison between Danilo and Ilario. Enjoy our journey !

Repressed!

Less than a year old, the newly formed label Apollonia presents its debut album releaseInviting you on an imaginary journey in their Lotus Seven, a road trip back to '90s San Francisco takes Chris Carrier and Hector Moralez on a musical mission, stopping for hip hop style smokes, disco jams and soul-warming joints on the beach; this is an exploration through their colourful inspirations and rhythmic upbringing.

Here comes a new EP
in limited Quantities

Coz' after long vinyl silence
beat is back with science

Starring mister C. Distortion
& Cyrius, brings back the Ozone

Starring Jeff's disco-Techno
The tribe goes downtempo

Starring freshly fixed
song from Ixindamix

SP23 non-stop transmission
Deby's visual for (r)evolution

And here comes a familly
through the year, in untity !

London centric debut album from Floating Points with a host of guest musicians and vocalists.
the label say " Sam Shepherd spent five years putting together Elaenia, juggling the production with his DJ commitments and his now-completed PhD in neuroscience.

The album takes its inspiration from classical, jazz, electronic music, soul and Brazilian music, much of which can be heard in Shepherd's DJ sets. There's a long list of contributors, with Tom Skinner and Leo Taylor (drums), Rahel Debebe-Dessalegne and Layla Rutherford (vocals), Susumu Mukai (bass), Alex Reeve (guitar), Qian Wu and Edward Benton (violins), Matthew Kettle (viola) and Joe Zeitlin (cello) all featuring. Shepherd also provides some of the vocals.

Shepherd's influence on the album extends to the cover art: he built his own harmonograph to create Elaenia's sleeve, using fibre optic cables that were connected to light sources and responded to bass drum hits and other sounds.

Aside from a couple of early excursions on R2 Records and Planet Mu, Shepherd's solo material has come out through Eglo Records, the label he co-runs with Alex Nut. Records like Vacuum, Shepherd's breakthrough release in 2009, and 2011's Shadows, which scored a five-star review on RA, have cemented his reputation as a classy, inventive producer. On top of that he's also released music from his Floating Points Ensemble project, and produced some of Fatima's 2014 album, Yellow Memories. "

Volupso 4 sees Alboratory Label boss Dimitri Monev enter the fray with two equally sublime tracks. Both tracks
envisage the style and sound of Dimitri progressing through sounds and beats to a deliver a clinical freshness for
Volupso. Both tracks are accompanied by remixes from the highly acclaimed Dan Farserelli of Fuse and Lorenzo
Chiabotti of Desolat and Moscow Records, making Voluspo 4 highly desirable.

Adam Beyer is back on Drumcode with an impressive array of tracks that will get the senses tingling and shows us what Drumcode is all about. These 4 tracks are deep and almost melancholic in their approach to techno, using effects to really help enforce an ambience only Beyer can achieve within his productions. The under lying throbbing of the drums drives this EP into the forefront of the heads down Drumcode sound and have been heard in many of Beyer's phenomenal sets throughout the year.

Fresh from the success of 'Say You Won't Ever', Wallflower return with their second single 'Manifest', an ode to honouring what naturally unfolds through surrendering to the Process; not to be confused with having manifest intent of a desired outcome consistently held in the mind's eye.

Leah Floyeur's vibrant piano and Alison Marks' haunting and
mantric vocals combine beautifully with the deeper moody strings to produce a delicately illuminating piece.

The package includes a couple of strong re-interpretations.

On the A Side by Gerd Janson and Phillip Lauer team up again for Rebirth to deliver a mix set to become a classic, combining an old school house feeling with a pulsing disco bass and atmospheric pads.

The vocals shine once more on what is sure to become a real dance-floor filler ! On the B side, Keinemusik's boss Rampa creates a strong remix combining raw percussion and tambourine with an intense synth line to build tension and energy.

A couple years ago Developer created a Modularz sub label named " Developer Archive " the idea was to slowly release tracks taken from his personal collection and specifically made for his live DJ sets. Through Developer Archive these tracks are now being released in a limited amount and the chosen selection are the ones that Developer felt made the largest impact in clubs and venues around the world.

repressed !

On Paranoia, Oliver Huntemann's prowess and versatility as a producer is evident, from the space age minimalism of 'Magnet', through to more melodic, upbeat productions such as 'The End', in which warm sounds resonate through the listener.

Having been a fan of Reelow for, well, as long as we care to remember, we are really proud to present you his new outstanding EP on Cellaa Music. Now residing on Ibiza, Reelow has enjoyed yet another successful year. With the talent taking a back seat, its the music hogging the spotlight and rightly so. Two new Tracks and two massive Remixes that look to the past whilst sitting firmly in the present.

- Leave Me Alone' riding on massive percussion and a tough house beat, with this tough Drums and drunken, wubby Sounds it is running right through its core. Plenty of sonic details flesh out the languorous but slightly groove and you'd imagine this Track is to be the sort of many Artits will love.

- Your Crowd' is again about little tiny details and how they evolve with time. This one take you on a voyage of natural rhythms and big Drums. Developing from harmonic FX Sounds and a infectious groove, the track is full of surprises as it twists and turns into different sounds that come and go to take it further than the dancefloor.

The first of the remixes comes from the in form, Massimo Cassini. He team up with a hypnotic rework of - Leave Me Alone' that demonstrates just why he is one to keep a close eye on as he gears up on the production front. Massimo is delivering a muscular house bomb, carefully placed FXs and a nice and catchy line to make this a dancefloor mover.

Next we have Cellaa Music Co Founder Martin Heyder providing a soulful tech house surrogate to the original of - Your Crowd'. His remix has a deeper houseier twist with a smooth 303 pad sound and a concrete percussive arrangement to convey a fantastic production.

We'll meet you on the Dance Floor!!!

Historia y Violencia proudly presents Raiz's "Curandero" EP.
Coming from the notorious L.A. promoters/multi-media group Droid Behavior, Vangelis and Vidal Vargas are no strangers to Techno. These brothers have been shaping and molding L.A. dance floors since the early 2000's. Formerly known as Acid Circus, they started to record as Raíz in 2010 for their first release on Historia y Violencia.
Here, the brothers dive deep into the realm of music and structure, with two moving tracks that defy their live performances. Curandero builds up through out the track with every bit of 909 drum and just enough fx's to keep you focused on your 1-2 step. With Sabio, Raíz dives deep using the classic Convextion formula to hypnotize the audience in their style. Both tracks tell a story of what Raiz is about and what part they hold in L.A. Techno History.

The Spinning Plates imprint returns this October with Club Winston’s ‘Guzzle’ EP, comprised of four gritty club workouts from the London artist.

The UK’s Club Winston has been steadily unveiling a series of tripped-out club ready cuts via his own UKGEORGE label over the past few years along with remixes from the likes of D.Tiffany and Tim Reaper. Here though we see him join the roster of Spinning Plates with his latest collection of works, an imprint that’s played host to material from the likes of SHKN, Neksha, Andy Rantzen, DJ Spider and Bruno Schmidt since its inception in 2015.

Title-track ‘Guzzle’ leads, laid out across five minutes with a menacing arpeggio bass lead, howling atmospherics and crunchy analogue drums. ‘Hell’ follows and tips the focus over to heavy doses of sub bass, intricately dynamic, modulating drums and intense swells of processed synths throughout.

Opening the flip-side is ‘Chart’, upping the energy levels with a pacey 4/4 drum groove while twitchy resonant synth lines, low-end pulsations and cavernous reverberations ebb and flow throughout. ‘Partook’ then rounds out the release, a cinematic ambient composition which lays focus on swirling, textural pads, glitched out resonant bleeps and fluttering low end hits.

Gal Perez is PRZ (and also Pluto Junkies, and the co-founder of Chateau Royal) and the German has put out a steady, quality stream of sounds since 2017. This outing on Helena Hauff's Return To Disorder is a twisted and acerbic collision of breaks, electro and UK rave. 'Cruising' has alarm sounds and blistering synth textures running through saw-tooth bass and big breaks. 'PIGMENTOR' is all acidic and chuggy while 'The Looper" is heads down, feet marching electro-techno. 'Good Bye' brings some electrified disco futurism to the party for a more colourful and outwardly expressive closer.

Sem is the first album by Victor Negri under his own name, after a decade making music as Arubu Avua. Released via Stray Signals (Berlin) in partnership with Mutum (Portugal/Brazil), the album was composed between late 2023 and early 2025 during a prolonged period of compounded grief and relocation, and is built upon layers of guitar in irregular loops, alongside samples, experimental electronics, and field recordings.

Begun in Lisbon and finished in Campinas, Brazil, Sem (meaning “without”) deals with loss by juxtaposing new material with unfinished recordings from previous years. As the process unfolded, catharsis emerged as much through editing as through raw expression. The album became a symbolic attempt to glue together fragments and memories from a world that ceased to exist, in order to move forward.

Across its eight tracks, some pieces gradually unfold while others crumble or explode into distortion and feedback, while some seem almost suspended, as if unsure of the next steps. There is a loose trajectory from disorientation and collapse (“Voçoroca”) through astonished frustration (“Não”) and numb acceptance (“Obrigado”), toward a fragile optimism on the closing tracks “Os cacos” and “Boa continuação.” Negri’s first fully instrumental album, Sem contains no vocals at all. That absence emerged gradually after fruitless attempts at songwriting during the period; overwhelm and speechlessness ultimately prevailed. The result leaves room for ambiguity, wandering, and the unfamiliar.

Victor Negri is a Brazilian musician and songwriter. Previously known as Arubu Avua, he makes music framed by noise, feedback, irregular loops, and field recordings.

Season 2 formed in late 2024, bringing together seasoned Melbourne musicians with previous and current projects including Parsnip, The Stroppies and Phil and the Tiles. The five piece, comprising Carolyn Hawkins, Claudia Serfaty, Charlotte Zarb, Freya McLeod and Matt Powell, quickly set to work writing winsome, DIY, shimmer-pop hits that careen through your mind in a gratifying dizzy rush.

With a clear collective vision and little time to waste, Season 2 spent 2025 writing and recording, appearing live only a handful of times. Finally, this April, the band are primed for their debut release, a full-length album entitled 'Power of Now'. ‘Power of Now ‘is a cerebral explosion of melody, hooks, drones and rhythm. In the vein of The Feelies, The Vaselines and The Clean, Season 2 have whipped up a sonic whirlwind. It's a giddy thrill of snappy slap, catchy gang vocals and crystalline guitar refrains.

'Abundance of Power' is a bittersweet bop of ponderous bass, crisp chord flashes and grounded vocals that dwell on slighted futures and bored realities. 'Becomes a Dream' is a delirious race of scrappy strumming and flying phrases that unsettle as much as they pinball endorphins - "pour the ink into the sand, watch the dog it bites the hand". "Tell me something, elbows on the table, I'll tell you nothing, leave you tugging at the cable" they sing on the peppy future single 'Tugging at the Cable', capturing a certain innocent, wide-eyed expressiveness. Season 2 do sparky well, their songs are instant rewards, tunnelling into your subconscious and testing the dance floor. They keep everything moving, the beat and the conversation. Season 2 sound barely controlled and all the better for it, you have no choice but to be swept up.

'Power of Now' was recorded by Alex Macfarlane (The Green Child, Chateau) and mastered by Mikey Young. It will be released digitally and on LP (black vinyl) on April 24th, internationally via Upset The Rhythm and locally in Australia by Spoilsport Records.

The Drop presents Based On A True Story - 21st Anniversary Edition. Honouring Chris (MU) Faiumu, aka Dj Fitchie. Manuia Lou Malaga. Mystic soul supernova, "Based On A True Story" aka BOATS is the debut studio album from Fat Freddy"s Drop unleashed in May 2005. The BOATS album features 10 fresh slices of future funk, with surprises, fakes & freaky sidesteps throughout. BOATS is Aotearoa"s longest-charting album with 111 weeks in the Top 40, won eight NZ Music Awards and took out Gilles Peterson"s Worldwide Music Awards in the UK. On debut in Aotearoa, the independent released BOATS debuted at #1 and went Gold on its first release day. The tracklist featured six completely new tracks, as well as reworked versions of previously released singles like "This Room", "Hope" & "Ernie" (also known as "Willow Tree"), alongside "Flashback".

KIZZY is the breakthrough EP from rising East London artist Bel Cobain, one of the most distinctive new voices emerging from the UK alternative R&B and soul landscape. Written across 18 months of late-night ideas, scattered sessions, and quiet breakthroughs, the project captures an artist in motion. Following a string of singles that introduced her raw lyricism, KIZZY marks a confident step forward with intimate, sharp, and melodically rich songs that sit in the space between endings and new beginnings.

Across these six tracks, Bel moves with striking emotional honesty through a rich palette that encompasses rock’s bite, jazz’s looseness, R&B warmth, hip hop rhythm, folk intimacy, and fractured breaks. She blends conversational storytelling with her distinct smoky vocals, reflecting on change, learning to let go, and finding light in the aftermath. The EP invites the listener to listen closely to the cracks, the softness, and the pulse of the beauty that still rises when a chapter turns.

Bel Cobain is fast becoming known for her ability to connect deeply with audiences, pairing classic songwriting instincts with a contemporary sonic edge. Early support has come from tastemaker radio and press, with momentum building across streaming platforms as listeners discover her unique perspective on vulnerability and self-awareness. Released as Brownswood Recordings celebrates its 20th year, KIZZY continues the label’s tradition of championing the most singular artists.

Marking a significant milestone in her career, this release is Bel Cobain's first-ever record. It is presented as a Collector's Edition Limited Edition 1xLP gatefold vinyl, pressed on Terracotta colored wax. With short-form video campaigns, targeted digital marketing, radio support, and a growing live presence, this release positions Bel Cobain as one of the UK’s most compelling new artists for 2026.

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

Bristol duo Pume Orenge unspool a world of spectral electronica from cassette loops and instrumental improvisation on their debut album Angel By Milo for Odda Recordings.

It is a world that opens draped in ferric hiss. A fog of sound, dense and yet not quite there, catching the light in strange shades and ambient drifts. Looping and receding, looping and receding, as pucks of static burst like faraway fireworks on a cold winter’s night. Sound sources obscured, ambiguous, not quite what they seem.

Angel By Milo takes its lead from the analogue process and textures by which it was made. Percussive and melodic loops were established, manipulated and responded to with instrumental improvisation, in a give-and-take with the materiality of the medium.

Across these seven intricately developed tracks, the sound fluctuates between the cinematic and the introspective, at times melancholy, at others verging on a kind of restrained anger, before the calm sets in once more. It is music for the small hours, awash with the grainy stuff of memory.

Embedded within Bristol’s independent scene, Pume Orenge’s quiet debut also speaks to the duo’s shared roots in the area, and like many of Odda’s previous releases, contains a sensitivity to place and atmosphere, even when these are no more than implied.

Angel By Milo builds on the DIY ethos of Pume Orenge's 2023 self-titled debut EP, whose tracks were recorded live in single takes, now honing a more intentional, purposeful approach to music making. It is one in which layers of meaning are allowed to reveal themselves, a way of composing that makes a virtue of its labour and the chance occurrences that can arise in the process.

This is music in praise of shadows. Of the things we can’t quite see, the feelings we can’t quite grasp. Heard through the haze, or maybe not at all.

øjeRum is the moniker of Danish artist Paw Grabowski. Since 2007, his mostly tape-based works have unfolded like private diaries—intimate, textural, often centered around an vintage pump organ Paw found left abandoned in a dilapidated Danish home, and to which he would return, sometimes in the dead of winter, to play and record on. The works featured on this release are centered around this pivotal engagement and collect some of his earliest releases from around 2014 to 2017. These were then carefully selected and released via Vaagner's sister label in 2018 via a double cassette release, which has since become a coveted collectors item.

Throughout the album, the organ breathes, sighs—the moments of brief silence that follow are almost palpable, then like a sonorous echo, the sound rushes back into the foreground with gentle restraint, submerging the listener into an undulating current of emotional upheaval. In this ebb and flow, øjeRum shapes a space where memory seems to waver and dissolve, and where a fragile, lingering melancholy unfolds with a kind of hushed inevitability.

With the newly minted Vaagner.Archive, this album is now reissued on vinyl for the first time—carefully remastered and housed in a 2xLP gatefold sleeve printed on special cardboard, its tactile presence echoing the material sensitivity that has always defined Paw Grabowski's practice. A love letter to repetition and restraint.

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

A1. Cirkel Square - Can’t Stand You
666 Recordings brings back Cirkel square to the A side.
A deep dive into hypnotic dub, where layered electronic sounds pulse and shimmer.
Each echoing hook line and delayed rhythm draws you deeper, creating a mesmerizing, immersive experience that lingers long after the last beat.

A2. Cirkel Square – Zeus Overture
This track captures the essence of lazy, sun-drenched days along the Greek coastline. Soft percussion mimics the rhythm of waves lapping against the shore. Every note evokes the golden light and quiet serenity of a Mediterranean afternoon.

B1. Tony Waller – We Control
Representing Brighton on the South coast of England Tony Waller delivers a track that evokes the raw energy of the old-school warehouse. Deep basslines resonate beneath sharp synths that cut through the air, transporting you to an underground world of midnight exploration.

B2. Pat Waller – Mupa
Also representing Brighton delivers the final track that envelops you in a dreamlike state.
With intricate soundscapes, subtle melodies and a shadowy beat that guides you deeper inward, like a nocturnal journey through mystery and stillness.

2026 Repress

Inner City Sound Archives is the work of a small crew of obsessive DJs, diggers, and archivists. For years, they hunted lost reels — digging through basements, flea markets, forgotten storage rooms — until they uncovered a batch of mysterious acetate tapes. No credits, no labels. Just cryptic handwriting and the hiss of time. What they found were raw, extended disco cuts — played once or twice at underground NYC loft parties in the late '70s, passed hand to hand among a tight circle of selectors, then lost to history. Now, after painstaking transfers and full analog remastering, these tracks are back. Unpolished, hypnotic, physical. Restored with love. Cut loud. Pressed right. For our debut release: six unreleased NYC disco bombs, presented in their original long versions across Sides A & B. Once championed behind closed doors by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, Walter Gibbons, and Richie Kaczor.

Soul legend Gwen McCrae’s All This Love gets a fresh dancefloor reinterpretation from Tokapi Disco Team, the German production duo known for their work with million-selling act Sash!. Ben Liebrand adds his signature touch with extended groove-driven edits, crafted with DJs firmly in mind. Tokapi Disco Team blends a warm, rounded kick with subtle percussion and a light shuffle that keeps the rhythm flowing effortlessly. A rolling, funk-inflected bassline locks in with Chic-inspired piano chords, while tasteful disco strings lift the arrangement throughout. Gwen’s unmistakable vocal remains the emotional centerpiece — rich, soulful and timeless.

The result is a seamless nu-disco and disco-house crossover that bridges classic soul heritage with contemporary club energy.

THIS is Gwen—this is ESSENTIAL.

Laars presents Ghost Hunter, a four-track, club-focused EP blending funky, acid textures, and melodic house-trance influences. Drawing from 90s dancefloor language while maintaining a playful and contemporary edge, it moves through heavy drum work, hypnotic melodies and tight basslines. While each track carries its own mood — from darker, hypnotic tension to more emotional, break-inflected moments — the release holds together as a cohesive late-night journey.

James ‘ReKab’ Baker is a highly regarded British producer who made some of the finest tech-soul, electro & ‘Artificial Intelligence’ style electronic music of recent years. James sadly passed away August 2025 and has been a great loss to the community, his productions on labels such as Distant Worlds, Fourier Transmission, Yore, We’re Going Deep, Moatun 7, Magnonic Signals and Analog Concept were much loved by fans of this music worldwide and all sold out upon release.

Previously, his first 4 albums had only ever been available digitally, initially issued on the Icelandic label Moatun7 and are currently only available on Bandcamp. Now, for the first time, in association with UK electronic label System One, all 4 albums will be issued on vinyl as full length albums, fully remastered by Justin Drake & the digital versions will be once available again on all DSPs worldwide.

The first reissue in the series is ‘Analogue Isolation’, to be released March 27th. Written & recorded in 2020 through the Covid lockdown period, the album is a masterclass in pure home listening electronica. Blissful, emotive and melodic with crisp drums, gently pulsing basslines, lush pads and exquisite melodies, Analogue Isolation heralded the arrival of a truly talented producer who enchanted fans of the genre over the coming years

Analogue Isolation will be a limited initial run of 250 copies through all stores worldwide March 27. A pre-release stream is available on Soundcloud here. The subsequent albums will be released throughout the remainder of 2026 & will be accompanied in December by a strictly limited hardcase for collectors to house all 4 albums. Meanwhile, all 4 albums will be available on DSPs worldwide from March 27.

Patience moonlights as one of the most underworked muscles of the modern human. Time meanders at the same pace as always but yet everyone seems to be living their lives as through they are stretching it out like elastic jelly through their fingertips, ignoring the virtue necessary to ride each moment. At the end of patience always lies a reward. DJ Teeth, a veteran disciple of time, presents a sonic palette to Kasra V's V-Sion imprint that is for only the most determined. Symphonic synths and acid swells ebb and flow, vocal samples move like auditory hieroglyphics scrawled on cave walls, and other hidden messages appear, but only for those who wait. Patience will be rewarded.

2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

=========================================================

Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

Wind of Oirat is the full length debut by Mongolian independent musician and sound artist Ts Bayandalai. Following his acclaimed 2020 EP Kimel, he now presents a further matured, composed and refined version of his signature sound, which combines traditional Mongolian music and instruments with influences from experimental music and post-rock. Deeply rooted in the cultural traditions of his homeland, Ts Bayandalai, who grew up in a nomadic family in the Mongolian steppe, explores nature and its myths, his ancestral roots, and the relationship between humans, animals and nature.

Artist Bio:

Ts Bayandalai is a Mongolian independent musician and sound artist. His childhood on the steppes shaped a deep sensitivity to natural and ethnic sound. To create his individual, deeply rooted yet modern soundscape, he combines traditional Mongolian musical elements with post-rock, experimental and electronic music, as well as from outernational music influences.

Born into a nomadic family on the steppes, Ts Bayandalai grew up wandering the vast grasslands with shepherds, absorbing the resonances of the horse fiddle and guitar — experiences that remain a primordial source of inspiration in his work.

Founder of the avantgarde band Horse Radio (2012) and the experimental project December3AM (2015), his compositions navigate cultural memory and contemporary aesthetics, reconstructing pastoral landscapes, temporal layers, and emotional spaces through sound.

His EP Kimel, released in 2020, manifested a delicate sculpting of sound, space, and cultural motifs, presenting a listening experience that is at once primal and modern.

Ts Bayandalai’s performances span China, Mongolia, and major independent music venues and festivals across Asia. His artistic vitality and creative autonomy have earned him critical acclaim and a devoted following in the international folk music and experimental music communities.

Next in the vinyl-only Kontra-Musik White Label series is a new collaboration between founder Ulf Eriksson and the label's most prolific artist, Andreas Tilliander, also known as TM404. The record opens in housier territory and ends with the deepest of dubs. In between, the duo carve out a distinct sonic language through two stripped, old school Detroit techno-inspired cuts, built around rolling basslines, subtle swing and a dense sense of depth.