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Big remix package for TOY TONICS'S boss KAPOTE. His song "Mystery" from the last album reworked by HARVEY SUTHERLAND, OPOLOPO, CLOSE COUNTERS with a bonus remix by french house master CASSIUS. Turning Kpaote's New school house anthem into super fresh jazz-funk disco, NYC 1990ies House hit and proto-dance bangers. There is no way there is not one version that every good DJ with an interesting fresh sound can't play.

It's 2025 and Toy Tonics one more time tries to define what are the perfect vibes for the "post-dark-electronic music age". Yes. After 10 years of explosion of hard techno, dark trance and fast race sounds Toy Tonics is trying every month to bring ideas for a more positive, high quality, forward-thinking dance music.

Opolopo: Opolopo brings his legendary touch to "Mystery." With a career spanning decades and a reputation for fusing boogie, funk, and broken beat, his remix promises a soulful journey. An artist who's famously remixed everyone from Gregory Porter to Stevie Wonder, Opolopo's version is pure, unadulterated groove.

Harvey Sutherland: Straight from the heart of Melbourne's electronic underground, Sutherland delivers his signature "Neurotic Funk." The celebrated synthesist and producer, known for his distinctive analog textures and a discography that's earned him ARIA Award nominations, is sure to inject his unique genre-bending energy into the track.

Close Counters: The duo from Melbourne, Close Counters, are set to turn "Mystery" into an electrifying fusion of house, soul, and jazz. Known for their dense synths and infectious energy, they have earned praise from tastemakers like Gilles Peterson and have wowed crowds at festivals like Splendour in the Grass.

Finally, the package features "Berlin Boogie Town" with a new interpretation from Parisian legend Cassius, adding some uplifting French Touch filter vibes.

"Reasons" is a compilation by four Japanese artists. It includes the debut track by Tokyo-based Miki — an energetic house tune with a strong sense of momentum, a sublime peak-time cut by Jori, dubby, atmospheric house from Daisuke Kondo, and a driving bass music track by Yomni, the alternate alias of Jomni.

SUBURBAN BASE RECORDS PRESENTS BOOGIE TIMES TRIBE – ‘THE DARK STRANGER’ – REMIXES

The Dark Stranger by Boogie Times Tribes is one of the most iconic anthems from the evolution of Drum & Bass. The Dark Stranger now returns for Halloween 2025, with an incredible new double-vinyl package featuring brand new remixes alongside long-lost classics. Pressed on a stunning glow-in-the-dark vinyl and housed in a specially illustrated sleeve depicting the mysterious Dark Stranger character, this release is as collectible as it is powerful.

The package contains eight mixes of this legendary track, cut loud for maximum DJ impact with just two tracks per side to ensure the heaviest playback. Brand new 2025 remixes come courtesy of Crissy Criss (mixed and mastered by TC), Marvellous Cain & DJ Choppah, Metrodome & Sl8r, Exile & Mark XTC, AKAS, and Freeze UK, all reimagining the anthem for today’s dancefloors.

To complete the set, the original 1993 remixes from QBass and the classic Origin Unknown Part 2 Remix are included, both made available here for the very first time since their original release in 1993, having never been repressed or released digitally until now.

This release is already generating massive buzz across the scene. At the recent D&B All Stars event, Andy C dropped the Crissy Criss remix, sparking the only rewind of his epic set. Other versions are already receiving huge support on Kool FM, Rinse, Pure FM, and across clubs and festivals nationwide.

A true piece of legendary Drum & Bass history reborn, The Dark Stranger returns this Halloween 2025! A must-have for DJs, collectors, and D&B fans worldwide.

Latest record off the Kalahari production line comes courtesy of a real one. Klon Dump in the building, moving like a madman across four barrelling tech house scorchers.

Part-producer, part-engineer and a long time co-conspirator of A Colourful Storm’s Moopie. Better known to some under the alias Mark, but always surefire for some serious dancefloor potency. Doubters, look no further-this is another demonstration of his mastery.

Big with the radiant stabs, even bigger on the earworm groove. Ploughing the furrow of tough, direct but deft as the Klon Dump faithful will have come to expect by now. Proper belters.

Always flexing outstanding rhythmic ingenuity, whether it’s hardcore hybridity as Mark or the tech house innovation shown here. If anything in life is certain, it’s that a KD record will lay down some serious torque.

There’s also an off-kilter playfulness that kinda feels reminiscent of T+++’s ‘Space Pong’ or Fiedel and Errorsmith’s MMM project. Another ace in the hole from the Antipodean shapeshifter.

When Los Amigos Invisibles first released "The New Sound" (1998) - more than a quarter of a century ago!) - was the ultimate party album. Time has passed, but the party has kept on - and this party music, full of non-stop funked out grooves-traveling through house, funk, acid jazz, and bossa nova, to name a few musical avenues - is a journey deep into the pants of rhythm. (We won"t even mention the old sound of the Venezuelan Gozadera).

Bringing together the elder statesman of the Zulu guitar Madala Kunene and internationally acclaimed Sibusile Xaba, kwaNTU pulls two generations of South African guitar mastery into a single point of focus. Under-represented on recordings outside of South Africa, Madala Kunene (b. 1951), the ‘King of the Zulu Guitar’, is revered as the greatest living master of the Zulu guitar tradition. Sibusile Xaba, whose collaboration with Mushroom Hour Half Hour reaches back to his first recording in 2017 (Open Letter To Adoniah/Unlearning), has garnered international acclaim for his unique voice and virtuoso guitar stylings, which bring together multiple South African guitar lineages in an original, spiritualised fusion. Collaborating with Mushroom Hour and New Soil for kwaNTU, the two players come together to weave a filigree sonic fabric which reaches down to the heartwood of Zulu guitar music but moves resolutely outward, building on the past to create a deeply rooted statement about present conditions and future travels. kwaNTU – which can be roughly translated ‘the place of the life-spirit’ – is also conclave of teacher and student, as Xaba has been taught by Kunene for the last decade. Meditative, rich and sonically sui generis, kwaNTU finds these two musicians linking up within the inimitable space of sound and spirit that they share through Kunene’s teaching.

The great masters of South African music have not all had equal exposure. For many years the generation of musicians who were exiled during apartheid took centre stage, as the regime made it very difficult for those at home to be heard. More recently, a new cohort of important voices, especially in jazz, has broken through to international consciousness. But for the generation of musicians in between – those who shone like beacons in the most difficult final years of apartheid and immediately afterward – international recognition has been slow in coming.

Madala Kunene, ‘the King of the Zulu Guitar’, is among this number. A revered figure for current generations of South African musicians, Kunene began his recording career in 1990, at the bitter end of apartheid, with a now classic self-titled LP for David Marks’ storied Third Ear imprint. Born in 1951 in Cato Manor, near Durban, he had determined to be a musician from early childhood, and by the time he first entered a recording studio he had already had a long career as a popular performer. His virtuoso absorption and transformation of the venerable Zulu maskanda guitar tradition and his richly spiritualised approach to music immediately marked him out as someone special, and in the years that followed, Kunene cemented his position as one of South Africa’s musical elders. He is without doubt the grand master of the Zulu guitar tradition, but his sound and sensibility ranges far beyond it into varied sonic terrain, and he has collaborated with a wide range of musicians both at home and abroad. Now in his mid-seventies, he remains a shining light for those that are making music in contemporary South Africa.

‘He is really an amazing person,’ says the guitarist Sibusile Xaba, who has been mentored by Kunene for over a decade, and now invites a collaboration with him on kwaNTU. ‘As a mentor, he's really powerful in showing us the way. For us to have this opportunity to make music together and have a project together is really a blessing to me.’

Xaba himself grew up in Newcastle, KwaZulu-Natal, where his mother had been in a band and his father sang in a church choir, and from early childhood Xaba played homemade tin guitars. He only later realised that music was his calling. ‘I just loved music. I was fortunate. My parents loved music. And when it was time for me to leave home and go to study outside Newcastle, I knew that music was what I wanted to do. There was no second option. It was just music.’ Moving to Pretoria to study music formally, Xaba committed himself to his craft, developing a unique style that draws on both US jazz masters such as Wes Montgomery and Jim Hall, and the rich and varied heritage of the South African guitar, from inspirational jazz players such as Allen Kwela and Enoch Mthalane, to the music of the Malombo groups and Dr. Philip Tabane (Xaba has previously collaborated with Dr. Tabane’s late son, Thabang), and the Zulu guitar tradition embodied by Kunene.

‘I was really in love with the jazz guitar, I really admired it, and I was digging a lot in that direction,’ says Xaba, recalling his first encounter with Kunene’s music, over a decade ago. ‘And then one day on my timeline, Kunene popped up, and I was like – “What's this sound?” I was so connected to it. It really touched me deep. I started checking out his records, and then I found out he's from the same region as I am, which is Zululand.’ After Kunene played a show at the Afrikan Freedom Station in Johannesburg, Xaba make contact with him, and visited him at home in Durban. They struck up a friendship, and Xaba became the elder’s student, as Kunene began to pass on his knowledge and his inimitable way of playing.

kwaNTU is a tribute to this relationship and the deep learning that has defined it. The album was recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village, which gives its name to the album. ‘It's such a broad word,’ Xaba says, ‘but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It's a living energy, so kwaNTU is like, almost the place of this energy.’ The two men sequestered themselves for five days of jamming, improvising and planning, and then the session was recorded in one take over a single night, with Gontse Makhene joining on percussion and backing vocals and Fakazile on vocals. Other voices and overdubs were later added in the studio in Johannesburg.

The result is a rich and meditative recording that finds two generations in a deeply engaged dialogue. Teaching and passing on his knowledge, the elder Kunene has brought Xaba into a space of sound and knowledge that they now share; Xaba’s own practice of deep communion with nature and his dedication to his musical craft make him the perfect interlocutor for Kunene. The result is an album that foregrounds the two musicians engaged at the highest levels of responsive listening, sympathetic unity, and collaborative concentration. Bringing an elder statesman of South African music to an international listening audience for the first time in decades by pairing him with one of South Africa’s most important new voices, kwaNTU is a meeting of generations and a powerful demonstration of musical lineage and continuity.

‘Before music, there is sound,’ Xaba observes, speaking of Kunene’s unique approach to music. ‘And sound is like a common compartment…it's not restricted to particular people or particular geographic places, you know what I mean? It's sound. Everybody can hear it. So when he constructs that sound into music, I think everybody resonates with the energy behind his construction of sound into song. Here at home, we really love him for preserving our history through the guitar, through his stories as well the music, the songs that he writes. We really, really admire him.’

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Comes with DL card & 2P insert / wrapped in shrink + a sticker

At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a “universal listenability” and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao’s admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial “production music” and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album’s flow, rather than typical “songs” driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao’s forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

A spirited masterpiece that lives up to its title ‘Artisan’.
Tenth original album. Includes ‘Endless Game’, ‘Sayonara Natsu no Hi’, ‘Atom no Ko’, ‘Turner no Kikansha’ and more.
Includes detailed liner notes by Tatsuro Yamashita himself!

The prolific, party-starting Det Gode Selskab collective continues to strengthen its wax artillery with another spaced-out exploration from label affiliate A:G. Based in Oslo, the label and artist have built a strong affinity over the years, with DGS regularly releasing his music and inviting him to perform at a host of events. His “Time Factor” EP is essential electro listening, wandering between rippling shades of acid and tripped-out minimalistic movements, synonymous with the Norwegian beatmaker’s sound. It’s a hazy quest through four original cuts, packed with raw and gritty attitude.

The slinky first outing of the EP goes by the name “Crash.” Anticipation builds as the winding bassline and quirky drum patterns create a sense of retro gaming exploration. “Sleepwalking” is another diverse entry from the talented producer—a pensive yet driven motion propels the track’s energy, laced with slick hi-hats and acid-laden beats.

On the B-side, outer-galaxy transmissions go full steam ahead with the title track “Time Factor”, animated grooves and continuous evolution, climaxing with bright, uplifting synths. Plucky, tight drums lead the way in the final frontier, “Cognitive Resonance”—another classy dance floor outing from A:G, once again showcasing why he’s a producer to keep close tabs on.

Striking while it’s hot, A:G delivers another heater on a label that shows no signs of slowing down in the years to come, and if their previous releases are anything to go by, this one will be moving fast!

In October 2025, Västkransen Records releases its 10th output — a milestone double 12" vinyl compilation featuring eight dance tracks from some of Stockholm’s finest producers and DJs. A celebration of the city’s underground electronic music scene, Västkransen 10 brings together familiar names from the label’s past as well as producers making their record debut. What they all share is a vital role in the sound and spirit of Stockholm’s dance music today.



Launched in 2017, Västkransen Records grew out of Gården – a seasonal open-air party held beneath a highway on the border between the neighborhoods of Västberga and Midsommarkransen. Set in a place where industrial landscapes meet nature, this location has shaped both the party’s unique atmosphere and its blend of groovy sounds and rawer beats. Starting a label was a way to keep that energy going and showcase artists and selectors with few outlets in a city, at the time, often drawn to darker and harder strains of dance music.

After a lengthy time of careful planning, the first Bünker Bliss release finally comes to life, and it couldn’t be in better hands. TBILISI-based producer DJ Astrobee steps forward with a record that reaffirms his status as one of Georgia’s underground pillars.

The music itself moves fluidly from razor-edged, body-jolting rhythms to shadowy synth-driven journeys - always carried by a tension that feels both immediate and entrancing. DJ ASTROBEE channels that energy into Bünker Bliss, setting a defining tone for everything that follows

Klur (Patrik Kindvall) has quickly become one of the most exciting names in melodic and progressive house. Since his breakout debut, Summit / Odysée, the Swedish producer has captivated listeners with his signature blend of organic textures, meticulously crafted synths, and evolving melodies, garnering over 100 million streams across DSPs and a loyal fanbase of over 1 million monthly listeners on Spotify.

His music across labels including Colorize, Anjunadeep and This Never Happened, has found global resonance, earning radio support from SiriusXM Chill, where he is one of the most-played artists in the last few years, and DJ endorsements from Lane 8, Madeon, Tritonal, Above & Beyond, Black Coffee, Sultan + Shepard, and more. Recognised as one of Sweden’s fastest-rising songwriters (+100! by STIM), Klur continues to push boundaries, proving that electronic music can be both deeply emotional and sonically cutting-edge.
Beyond the studio, Klur has taken his immersive sound to stages worldwide, with performances in New York City, ADE, London, L.A., San Francisco, Seattle, Phoenix, Denver, Austin, Toronto, Montreal and beyond. His music is more than just sound—it’s an invitation to explore a world where the digital and natural coexist in harmony, stirring emotions and inspiring connection.

Klur drops his sophomore album ‘After The Rain’ on Colorize this October, followed by an album tour across Q4 and into 2026.

Interception, the second long player from Jensen Interceptor following 2018's Mother, is something of a state-of-the-nation that finds Melas consolidating several eras of his career, past and present, to form a distinct new sound that is the most experimental work he has produced to date.

In 2024, a freak accident at an event he was playing left him with multiple broken bones in his foot. The forced downtime became an opportunity for introspection, allowing him to revisit earlier projects and explore new musical territories. Blending his signature electro with genres such as IDM, footwork, and baile funk, Melas used this recovery period to fuse old influences with fresh global sounds. "Since I started making music I've always made music geared towards use in my DJ sets but there's always been an urge to explore the deeper side of electronic music.
That time off after the accident gave me the space to dive into genres and really experiment.
" The accident came at a time when he had already spent time, like so many others though the COVID-19 pandemic, assessing his next move. A full tour schedule had left him feeling constrained by the limitations of working in a single genre. As such, Interception is the end point of this reassessment and the start point of what Melas sees as the next stage of his musical evolution.
"I really wanted to challenge and, I guess, prove myself in other spheres, to take my music to a new place. I've never wanted to be too repetitive and found that expectations, imagined or real, were forcing me to get stuck on a specific sound both in my productions and DJ sets." This renewal is reflected in the title of the album, which eagle-eyed fans will note is the same as the first EP that was released under the Jensen Interceptor moniker, and the emotional and personal nature of the LP is likewise mirrored in the abstract impressionism of the artwork created by fellow Australian, Brodie Kaman, the artist behind the visual look of Lady Gaga's recent Mayhem LP as well as works for FKA Twigs, Nine Inch Nails, and more.
The design-resembling oil drifting across a microscope slide-uses a mix of vivid pastels and moody darks to express the album's emotional depth: a collection of distinct elements coalescing into something richer and more evocative.

Camp Butter Records presents the Toastmasters EP - our second slipped disc on our black label and first ever on wax.

This time we invited five friends to produce four fresh slices - designed to toast the night sky and butter your brain. Each track drips in groove, polished for peak strangeness, and blessed for service at late-night ceremonies. Each time you play this record think of it as a toast: to friends, to freaks, and to sliding more. Mix & Mastered by Pheek

Eramus Hall's 1980 album 'Your Love Is My Desire' is one of the most collectable and in fact desired modern soul albums of all time. Copies of the original pressing on Westbound have exchanged hands for over £400. From the LP comes two of its most desirable tracks, neither released before on 7' outside of a limited run of the LP reissue on Expansion for this year's Record Store Day.
Eramus Hall are in fact a group taking their name from a building George Clinton saw and gave them while he was in Chicago. The group comprise lead vocalists Michael Gatheright and James Wilkerson with musicians Ronald Wright, Marvin Williams, Joe Anderson, Grady Smith, Charmie Currie and William Tillery.

Great Vacation! are just that: a momentary escape from a crazy world. Sunshine permeates every note, with good times abound when the band throws down. Both “Yellow Gold Diamond Fire” and “You Make It Look Easy” were recorded old school style with the whole band live in the studio to capture that special magic.

Artist Bio:
Great Vacation! was formed by Riley Geare in 2023. The lineup has rotated a bit but always includes Riley and guitarist Topher Mohr. Currently the group includes drummer Sheldon Reed (who appears on Yellow Gold Diamond Fire). Dedicated to an old school aesthetic, the band performs together live in the studio and has only ever done 2 takes of a song. Every track is recorded to tape for maximum stank. We thrive in the Southern California climate- lots of sunshine, classic cars, palm trees and love vibrations pervade the vibe.

Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2- step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation. Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.

Straight from the streets of Rio, Fabio Santanna drops a double-shot of pure Brazilian funk fire with Funk da Asa and Sou Black Rio, pressed fresh on a Dippin’ Records 7 inch. Following the sold out success of his last 7 inch release, this sequel to his ASA album is fully loaded with dance floor spark, deep basslines, tight percussion and that signature Fabio touch that makes hips move on instinct. Pulled direct from his upcoming Asa Noite album, these two tracks are pure boogie fuel bathed in tropical heat.

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

Tokyo producer Yusuke Iguchi aka RGL makes his long-form debut with Touzan, an album that expands on the soulful, groove-rich sound introduced on his inaugural EPs for Breaker Breaker.

Named after the Kawagoe Tōzan fabric woven by Iguchi’s mother and featured on the artwork, the record weaves together house, hip-hop and jazz-tinged textures into RGL’s most distinctive statement yet - a deeply crafted vision of modern Japanese house music.

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

Conoley Ospovat delivers again with another missive on his mostly solo platform, Continental Drift. With supporters like Move D, Daniel Bell, Snad, Gavin Hardkiss, & DJ 1985, he always seems to find himself in the record bag of underground tastemakers & adventurous selectors. On the Tokyo Techno Girl 12" he continues to refine his sound - ranging from the B-side dusty dub roller Culture Lag to the playful shimmer of the lead tune: Stars.

In between, the wistful title track is a shuffling ode to a faithful furry studio companion. Then classical house roots shine through on Jam bij de Vrij Paleis, catapulting a buoyant bassline groove to the fore with a deep spirit sure to grab fans of Smallville or Giegling. Do not miss this.

Utter presents Marshall Jefferson's previously unreleased meditation opus 'Yellow Meditation For The Dance Generation' alongside two remixes from French production maestro Joakim.

Marshall Jefferson: Chicago House music pioneer, creator of the anthemic ‘Move My Body’, an original collaborator of Adonis, Ce Ce Rogers and Roy Davis Jr., production mastermind of countless dancefloor classics such as Phuture’s ‘Acid Tracks’, Sterling Void’s ’It’s All Right’, Hercules’ ‘7 Ways’… and the soothing voice behind a 36 minute healing meditation guide. Yes, really.

But let’s rewind, slightly.

In 2017, Marshall was approached and encouraged by Ian ‘Snowy’ Snowball to write his autobiography and the pair set about putting Marshall’s account of the history of House music together. The book, ‘Marshall Jefferson: Diary of a DJ’ was published in 2019.

Following the book’s release, Ian and Marshall's collaboration continued and during the pandemic an outlandish idea arose to create a piece of music combining Ian's interest in meditation (he runs Club Chi specialising in Shibashi Qigong - a form of Tai Chi Qigong - which is a gentle form of movement therapy/exercise) and Marshall's willingness to experiment musically to see what might be possible.



The result is ‘Yellow Meditation For The Dance Generation’, where Marshall vocalises Ian’s lyrics in his instantly recognisable voice. The keen-eared out there may also recognise aspects of the music itself as a stripped back, lengthened and far mellower version of Marshall’s 1985 obscurity ‘Vibe’:

“I would take tapes to the Music Box and Ron Hardy would play my music. ‘Vibe’ was one of those tracks. I recorded ‘Vibe’ in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it that was taken from a club. The only person who I ever gave a recording of ‘Vibe’ to was Ron Hardy. The other people I know who had copies of the track were Gene Hunt and Emanuel Pippin (DJ Spookie).

"The original version of ‘Vibe’ was made using a Roland 707, Roland JX-8P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-‘Move Your Body (The House Music Anthem)’. ‘Vibe’ has the building blocks for ‘Move Your Body’ because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like ‘Move Your Body’.”



Still, Ian’s initial intention for ‘Yellow Meditation’ was function and it was designed to be a ‘Sequential Relaxation Exercise’ focusing on the Solar Plexus. Bearing this in mind, Marshall took a bare-bones and hypnotic approach to this particular re-recording of ‘Vibe’ so that the voice takes centre stage and listeners (hopefully) find themselves on a meditative journey. In fact, this long-form track was always intended as a private tool purely for meditation at Club Chi rather than released to the public - after all, Marshall had also created and released a more drum heavy, ’traditional’ club-focused 'Vibe Three' instrumental version for that very purpose - but a chance airing of the full 36 minute version changed its path.



Much like those 1985 ‘Vibe’ cassettes, Marshall had sent the track to a few close contacts, one of whom was Kieran at Phonica Records who aired it over the shop’s basement soundsystem. Its unorthodox nature caught the ear of colleague Alex (of Utter) and the seeds of a physical release were planted.

Eventually, with the full-version carefully whittled down to a vinyl friendly length of 24 minutes, full track parts in hand and a b-side to fill, Alex sought out one of his favourite producers to take up the remix reigns: Joakim. The Tigersushi co-founder and Crowdspacer boss has a long history of boundary-pushing remixes that straddle both dancefloor functionality and experimentation. This time the original material resulted in Joakim coming up with a number of ideas and he finally delivered two versions - one club focused (‘Vertical’), the other more introspective and meditative (‘Horizontal’), both of which appear on the final 12”.

The limited edition 12” also includes a download code giving buyers access to all of the vinyl tracks plus an 18 minute extended version of Joakim’s ‘Horizontal’ remix, its instrumental counterpart (for those who can live without Marshall's voice) and full 12 minute acapella (for those who can't!)


Alex

a A1. Yellow Meditation For The Dance Generation (Edit) 24:00
b B1. Yellow Meditation For The Dance Generation (Joakim's Vertical Remix) 9:09
9:05

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’.

Mastered by: Keith Tenniswood at Curve Pusher, Hastings

Cut By: Frank Merritt at The Carvery, London

Distributed by: Rubadub, Glasgow

Artwork by: Timothy Saccenti, Nicholas Martin, Scott Fraser

Photography by: Kate Green, Javier Gonzalez, Scott Fraser, Timothy Saccenti

Solid red vinyl (300 copies), 30 coming with a limited edition screen print designed by Timothy Saccenti, Nicholas Martin and Scott Fraser, hand screen printed by Niall Greaves at Newbridge Print studios in Newcastle.

‘Cataclysm’ is a poignant call for revolution of both politics and consciousness, conveyed through ten distinct songs written and produced by Zanias between 2020 and 2024. Each piece of music inhabits its own aesthetic universe and rhythm, featuring elemental fusions of coldwave, italo disco, witchhouse, trance, breakbeats, hyperpop and even a touch of drum and bass. The unique amalgamation is best described as post-industrial ethereal wave, of Zanias’s very own signature. The subject matter grapples with how to move forward through times when civilisation and the entire ecosystem of the planet feel like they are on the brink of total collapse, while gazing back over hundreds of thousands of years of human survival in total awe of how far we’ve come. The lyrics aim for a balance of vulnerability and poetic strength, as the audience is beckoned to “thread the power through the pain”. While darker atmospheres are conjured through the sound design and instrumentation, the album ultimately directs itself steadfast toward the glittering sheen of hope. As the tempo ascends through the course of the album’s tracklist, so too does Zanias’s deep attachment to our sacred humanity and refusal to give in to despair.

‘Cataclysm’ represents an ambitious defiance of genre tropes in pursuit of pure artistry, with a potent political message delivered with assertive fervour and playful sincerity. Additional production was contributed by mixing engineer Trey Frye, best known for his work in the band Korine, and the album was mastered by Alain Paul.

Co-Accused Records return this autumn with From The Pit, a four-track EP from Paris-born, Berlin-based producer SOD-90 that seeks out connections between electro, industrial, breakbeat and EBM. Locking into the raw, gritty range of distortion that defines his sound, the release also features a remix from Hamburg’s L.F.T. and follows SOD-90’s label debut with 'Saving Up For Botox’ last year.

A classically trained flautist, professional musician and teacher, SOD-90’s electronic production has become an increasingly vital part of his daily life. Working almost exclusively with hardware, his tracks emerge from spontaneous sessions as a channel for emotional release, fuelled by bursts of adrenaline and a need to counterbalance the refinement of classical music. Distortion, for him, is a way to dig deeper into timbre and sonic depth, pulling distinctive textures out of his machines.

Opener ‘Fugitive Passagére’ sets the tone with driving kick drums, distorted vocal fragments and full-throttle energy aimed straight at the club. L.F.T. 's remix twists it into a dark electro moment, layering a jagged bassline over razor sharp beats. On the B side, ‘Muzzle’ goes all-in on blown-out distortion and breakbeat force, before closer ‘Rust Fountain’ moves into complex, off-kilter territory with ricocheting synths and layered percussion.

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of
reggae funk and soul tracks from the legendary Studio One stable, featuring
a stellar line-up of artists including Jackie Mittoo, The Heptones, The
Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric ‘Im’ Brooks and
many more.
For a short period of time at the end of the 1960s and early 1970s, nestled
between the end of rocksteady and the arrival of roots reggae, Studio One
released a small stream of superb soul and funk reggae tunes – covering
everyone from Sly and The Family Stone, Diana Ross and The Supremes,
Nina Simone, Gene Chandler, Tyrone Davis and more.
Most of the tracks featured on Soul Jamaica were only ever released on
Studio One’s UK-subsidiary label Bamboo in small-run pressings and are
now consequently extremely hard to find.
The cover photograph features images of Air Jamaica, the new airline
created by the Jamaican government at the end of the 1960s, showing how
in the years following independence the
country assumed its place on the world
stage, with reggae music playing a key
role in creating the island’s new
cultural identity.

"Waxwork Records is proud to announce the deluxe vinyl release of FRIDAY THE 13th PART 2 Original Motion Picture Soundtrack by Harry Manfredini! Released in 1981, FRIDAY THE 13TH PART 2 is the follow up to the 1980 seminal slasher horror film, FRIDAY THE 13TH. Horror fans meet Jason Voorhees as the masked slasher for the very first time in this sequel, and it's the first and only time we see him donning a burlap sack over his head, later followed by the classic hockey mask in Part 3 and beyond.

Waxwork worked closely with composer Harry Manfredini to bring horror fans a very special and quality soundtrack experience. We're stoked to present the complete soundtrack sourced from the original 1981 master tapes as a deluxe package featuring artwork by Rich Kelly, 180-gram colored vinyl, and high quality packaging!"

Belgian pop superstar Max Colombie, aka Oscar and the Wolf, announces new
album ‘The Shimmr’, on PIAS Recordings.
Enter Colombie’s world and you’ll discover a uniquely dazzling and shimmering
fusion of contemporary R&B and a more European electro-pop sensibility, uniting
shivery melody, shifting beats and vocals steeped in drama, sensuality and yearning.
Colombie hears, “a twilight zone where it doesn’t sound dark nor happy. It’s like the
name Oscar and the Wolf; it’s a balance between light and dark, this perfect
combination between the sun and the moon. It’s beautiful and scary at the same
time.”
Oscar and the Wolf’s official debut, the 2012 EP ‘Summer Skin’, showed his gifts
arrived virtually fully formed, but he truly came of age in 2014 with his debut album
‘Entity’. Balanced between dancefloor anthems and slow jams, ‘Entity’ went 4 times
Platinum in his native Belgium and quickly jettisoned Colombie to superstar status.
He sold out arenas in Belgium and the Netherlands, taking the penultimate
headlining slot (behind Muse) at 2016’s Lowlands festival before headlining
Belgium’s Pukkelpop festival, sharing the bill with Rihanna and LCD Soundsystem.
Released in 2017, the second Oscar and the Wolf album, ‘Infinity’, went Platinum at
home, whilst amassing a huge Middle Eastern fanbase across Turkey (where his
2018 tour sold out in minutes), Egypt, Israel and Iran. On stage, Colombie cut a
commanding and lithe performer, often garbed in shimmering outfits that interacted
with the dynamic lighting.
The new Oscar and the Wolf album, ‘The Shimmer’, distils the essence of Colombie’s
sound and vision in its title and the image of Colombie on the album cover, bathed in
starry light. The album is a benchmark of his transformation on record; whereas
‘Entity’ was recorded in a barn, “very lo-fi with no access to gear,” he recalls.
‘The Shimmer’’s bold, rich and layered dynamics were captured at ICP Studios in
Brussels, home to, “one of the best live rooms in Europe, with all this vintage gear.”
More intimate moments were added at Colombie’s house outside the city, “those
magic takes we made just after we’d written something, which are so hard to capture
again.”
By ‘we’, Colombie includes producer Jeroen De Pessemier and multi-instrumentalist
Ozan Bozdag, who had both worked on ‘Infinity’ (and Bozdag on ‘Entity’ too). “It’s a
magical trio,” Colombie says. “Everyone is allowed to be themselves, and to explore
themselves. I’m really happy with ‘The Shimmer’ because I hear a more mature
version of myself. I always want things to grow, and I’m proud that I allowed myself to
not follow people’s expectations and reproduce what had been successful before.
There are no four-to-the-floor clubby pop songs this time.”
Instead, ‘The Shimmer’ more accurately reflects Colombie’s personality. “My
emotions run from super-happy to super-melancholic in a split second,” he says. “To
me, ‘The Shimmer’ feels like the soundtrack to a blockbuster, with many types of
tracks and themes. It’s always changing."

Come Clean is the the highly succesfull major-label debut and second studio album by the American rock band Puddle of Mudd. Originally released in 2001, the album's music was responsible for breaking Puddle of Mudd into the mainstream music scene. The album reached the Billboard 200 Albums chart peaking at #9. It has sold over 5,000,000 copies and was certified 3 times platinum by the RIAA.

The lead single Control' was also the theme song for WWE's Survivor Series 2001, which was critically acclaimed. The second single off the album, Blurry' turned out to be Puddle of Mudd's most successful single, reaching No. 5 on the Billboard Hot 100 and No. 8 in the UK Singles Chart, and also winning an ASCAP song of the year award. Drift & Die' was also released as a single spending six weeks at the No. 1 on the Mainstream Rock Chart. The fourth single, She Hates Me' reached the No. 1 spot on the Mainstream Rock Tracks chart and won the ASCAP award for most played rock song of the year.

In support of the album the band embarked on a European and American tour as the opening act for Godsmack and Deftones, and were also a part of the Family Values 2001 tour, alongside Linkin Park, Stone Temple Pilots, and Staind.

Available on vinyl for the very first time, Come Clean is pressed on clear vinyl, limited to 1.000 numbered copies!

Heith's music has always been infused with sacred mystery, striking a delicate balance between lived experience and imagination. On Escape Lounge, his second full-length release for PAN, Heith draws inspiration from contemporary digital spirituality and interpretations of experience that are crossing over from cultural niches into the mainstream - including internetbased conspiracy theories and psychological operations. The album presents a sonic diary recorded across Milan, Berlin, London, and Stockholm, crafting a post-informational folklore while exploring new territories in personal songwriting. The title Escape Lounge, inspired by airport waiting areas, serves as a metaphorical waiting room of the mind. Its hidden passages can lead either to peril and loss or to enlightenment and kaleidoscopic mental landscapes. This liminal space echoes the mysterious realms of Twin Peaks or the viral "Backrooms" phenomenon. Within it, contributing musicians - including frequent collaborators Leonardo Rubboli, Aase Nielsen, and 33 drummer Alexander Iezzi - move like ethereal presences, creating intangible soundscapes that leave traces of post-hypnotic melancholia. Notably, the vocal contributions from Price and James K enhance the otherworldly atmosphere, their multifaceted timbres adding layers of intentional ambiguity. Throughout the album, Heith masterfully blends acoustic instruments, human voices, and digital technology along an uncharted path that references the experimental pop of 90s trip-hop, 2000s indie-folk songwriting, and lush Mediterranean psychedelia. The sounds are meticulously crafted, combining synthesizers with guitar-based compositions in a computational songwriting approach that creates a collage across eras and landscapes. Each track unveils new dimensions of this delicate hallucinogenic narrative, delivering an immersive listening experience. As reality continuously shifts, Escape Lounge emerges as both sanctuary and confinement - a space of momentary connections and endless potential. In 2025, Heith will debut a new live show and audiovisual collaboration titled 'The Talk' with James K and Günseli Yalcinkaya, commissioned and premiering at Sonar Festival, Terraforma, Nuit Sonores, and Reworks.

Ambarchi, Berthling and Werliin are back, a little looser and wilder than before. Their ability to lock in and focus on the smallest of details is enhanced here by a sense of increased immediacy. Great news for fans of stimulating variations of tone and mood within a potentially infinite universe of rhythm and sound! The more you listen to Ghosted III, the better your hearing becomes. Or maybe it"s just that you hear more every time you play it.

Celebrating the 25th anniversary of Saints & Sinners, All Saints' iconic 2000 album is now available for the first time on vinyl. This special limited edition 2LP Black & Red vinyl edition features the band's signature blend of R&B, pop, and soul, including hit singles like "Pure Shores" and "Black Coffee". To further celebrate, this vinyl edition will include various remixes released over the years such as The Neptunes Remix of Black Coffee, alongside the recent Tourist remix of "Pure Shores."

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2

Enigmatic UK producer Dylan Henner announces new album of deeply considered and choral-laced experimental ambient music Star Dream FM, said to be taped from a mysterious radio broadcast that plays his favourite memories from adolescence.

Though (clearly) fictional, the backdrop to new album Star Dream FM represents a tactile canvas on which the record’s true meaning is painted. It is, through Henner’s now-characteristic employment of ambient-textured synthesis, marimba, digital choir, and processed voice, a study of late adolescence and the experience of being seventeen.

Little is known about Dylan Henner, who landed on the ambient scene in 2020 with cassette releases for Phantom Limb, Belgian label Dauw, and cult tastemakers AD93. He barely promotes himself publicly, instead choosing to communicate through disarmingly poetic song titles. His debut album “The Invention of the Human” (AD93, 2020 - a recipient of BBC 6Music’s Album of the Year honours) responds to a set of philosophical questions - what exactly makes us human? What good is civilisation when there’s so much misery attached to it? How will technology affect humanity in the long run? In 2022, he released follow-up You Always Will Be on AD93, which traced the course of a single life from birth, to childhood, to adolescence, adulthood, parenthood, middle-age, old-age, and demise. He has also covered Raymond Scott, Terry Riley, Aphex Twin, Ryuichi Sakamoto, and Su Tissue among numerous further projects.

Indo Warehouse presents ‘Bombay Acid’ on Crosstown Rebels, featuring Kunal Merchant and Raja Kumari. The hypnotic new single, fusing heritage and future-focused touches, lands with a remix from SYREETA

Making their debut on Crosstown Rebels, New York collective Indo Warehouse unveils ‘Bombay Acid’. The release is a collaboration between co-founder Kunal Merchant and acclaimed vocalist Raja Kumari, capturing the Indo Warehouse ethos: hypnotic grooves, ancestral textures,and underground energy fused into one expansive, ritualistic journey.‘Bombay Acid’ pairs Merchant’s meticulously layered production, melding deep, hypnotic grooves with textures drawn from South Asian musical traditions, with Kumari’s commanding vocals. The track unfolds as both a club-ready cut and an immersive ritual, bridging cultural heritage and contemporary electronic sounds. A Grammy-nominated rapper, singer, and classically trained dancer, Raja Kumari bridges Indian tradition with contemporary global music. She has collaborated with Timbaland, Dr. Dre, Gwen Stefani, John Legend, and Iggy Azalea, and has performed at Coachella, Wireless, and India’s NH7 Festival. Her imprint, Godmother Records, and projects such as ‘The Bridge’ (2023) and ‘Kashi to Kailash’ (2025) explore resilience and spiritual depth, making her one of the most distinctive voices in modern music.

On the flip, SYREETA delivers a striking rework. Authentic and fearless, the UK favourite has shattered glass ceilings while drawing on chunky basslines and energetic grooves from house and techno to craft her own sound and style. Her remix injects ‘Bombay Acid’ with that signature low-end punch, while driving and harnessing the track’s cosmic energy for late-night dancefloors.Kunal Merchant has spent years building a sound that is simultaneously drawn from his South Asian lineage and futuristic. From appearances at Coachella, Hï Ibiza, Fabric London, and Brooklyn Mirage, to releases across the Indo House spectrum, he has become a central figure in shaping the genre and bringing South Asian voices to the global electronic stage. Indo Warehouse, co-founded by Merchant and Kahani in 2022, has evolved from its underground origins in New York into an international movement. Their live shows are immersive experiences, rituals where identity, tradition, and club culture collide, and their releases continue to push the boundaries of house and techno while remaining deeply grounded in their origins. With ‘Bombay Acid’, Merchant and Kumari deliver a production that is both hypnotic and expansive, inviting listeners
into a universe where rhythm, culture, and underground energy meet in unison.

(Platipus 30 Years vinyl part 8/12, remastered audio) The journey continues with the release of Platipus 30 Years – Volume 8, another essential chapter in the anniversary vinyl series paying tribute to the legendary UK label that shaped the sound of trance and progressive music worldwide.



This edition showcases four more iconic cuts from the Platipus vaults: the electrifying Poltergeist – Vicious Circles (Union Jack Remix), the deep and driving Clanger – Seadog (Original Mix), the unmistakable energy of Union Jack – Spasm (Original Mix), and the atmospheric masterpiece Art of Trance – Kilamanjaro (Original Mix). Volume 8 continues the legacy of Platipus as a beacon of quality, artistry, and timeless dancefloor magic, making it an unmissable addition for vinyl lovers and collectors.

The latest release from the Villains Inc. camp delivers an Italian-made electro gem.

And as the saying goes: Villains do it better! After the soulful "Time To Go Back EP" back in 2022, the "Generation V EP" (limited to 300 copies) marks the arrival of fresh talents joining the collective. This new wave steps in after the tragic loss of some of the label key figures, carrying the torch and keeping the Villains Inc. spirit alive.

Side A opens with "Vaccin", a hypnotic yet funky electro-bass track by Deepvision and Lefka. Despite their young age, the duo U.A.G.L.I.O. shows remarkable musical maturity and delivers a powerful debut. Expect to hear much more from this awesome team in a near future.

Next comes "FM Resistance" by Jack Bags (half of Dr. Boomer). A synthetic ride of swirling URish style sequences, darkened by moody strings. Breakdance moves guaranteed on the dancefloor!

On the flip, Index Case teams up once again with the late X-Beat (RIP) to provide a furious "Against" anthem, calling for "revolution against the government, against the police". The frantic rhythm and unsettling atmosphere push the track into gloomier territory in a powerful way.

Closing the record, Antizer0’s founder Zora Neti concludes the 12" with "Stereocash_(Pt.2)", a downtempo storm built upon eerie voices and mental sororities. A haunting yet masterful finale.

The legacy of the original V members lives on. Special mention to Simonloop aka Urbanmagic, one of the OG Villains, whose artwork on the B-side captures the grit of the music and makes the vinyl worth owning on its own.

From start to finish, Generation V EP is a masterclass. Crafted with the unmistakable Villains Inc. sound by label owner Gab.Gato, it’s pure underground quality. This record is dedicated to the memory of X-Beat and Yo Flava. Once a Villain, forever a Villain. Support the underground!

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Mister Joshooa consolidates his delivery on Party store this time with a proper full length EP,
with 3 originals and 2 remixes from Delano Smith and Mass Prod that will keep the dancefloor
busy for a while.
A very solid release that goes from Bass to House to Techno, all solid club tools that will keep
the club busy, five bangers that all evoke the Party Store blueprint feeling: FRESH OUTTA JAIL
Strong of his release on Planet E and his Performances in the world's temple of Techno Music
between his own Detroit and Berlin, Josh is always on point with cutting edge productions that
go straight to the point, to party.
Cosmo is a timeshifting bass tool, so abstract yet so powerful, so empty yet so present that it
will allow you to take your crowd towards the most twisted cuts of club music, perfect to merge
Bass, Minimal House and Techno.
Delano Smith and Mass Prod both deliver a more 4 to the floor/ Club friendly version of Cosmo.
Delano takes the core groove of the track and brings it up on a monstrous Detroit House Tool,
heavy on basseline and chords, it flows like water on day 3. you just wanna play this more and
more, the more you listen to it.
Mass Prod delivers a darker, lower body versions of the title track, a Minimalistic after hour tool
where aerie vocals and percussions are rolling over a primitive House groove that will keep the
dancefloor simmerin for a while.
Adult use is a perfect party track to set the vibe and to get completely weird. Dub Acid Stepper
at his best, proper after party fuel, one to make people stand from couches and blankets in the
morning!
Ketchup popsicle is a pure Detroit Banger with psych vocals and digital acid at his best with full
on trancey effects and percussions, not for the faint of heart, a track that will take you to new
levels of party time!

Purple marks the third release in the HouseHeadz00 Series, carrying forward the label’s uncompromising underground vision. Featuring It’s All About.., Movin’ On, Body ‘n Soul and Conjure, the record delivers a collection of raw and distinctive cuts made for the dancefloor. Stripped-back rhythms, driving grooves, and a timeless energy stay true to the HouseHeadz spirit, offering selectors pure house music with authenticity at its core.

Adeen Records digs deep once again for a new offering that taps into some seriously swaggy and soulful house. Dav Risen is behind them and is a South African DJ and Producer from Soweto who wears his Christianity with pride, and that religiousness also defines these sounds which are a spiritual journey into deep house with plenty of life-affirming harmonies Dav delivers a powerful, purpose-driven title track that glows with warm pads and a rhythm section that feels both grounding and uplifting, making it perfect for sunrise sets or late-night introspection. 'Don't Worry About It' is just as deep and moving, 'So Long' has warm organ chords and 'You Can Make It (feat DJ KK)' closes with another loved-up vibe.

Fasten your seatbelt and let Berlin-based edit master Voodoocuts take you back to the good times with his jazzy reinterpretations of two classic tracks. The A side of this 7"" kicks off with 'That Cool Loop', an alternative, Latin-inspired reimagining of Us3's well-known 'Cantaloop' that is sure to get the dancefloor moving. On the flip, 'Jazzaround' offers a reimagined take on House of Pain's anthem, packed with jazzy chants, swinging chords and crispy drums. Another finger-licking donut not to be missed!

Legofunk Records returns with a brand-new volume of “Super Disco Edits” series — this time bringing together an all-star lineup of artists from across the funk and disco scene. Bursting with groove, soul, and analog warmth, the compilation celebrates the golden vibes of dancefloor magic while pushing the sound forward with fresh energy and creativity. Get ready to move!

Introducing Beautiful, a 4-track, club-focused EP by Copenhagen’s Hekt on Numbers. It hints at his mass appeal while featuring club-ready vocal collaborations from close friends Henriette (on ‘Beautiful’ and ‘You Won’t Believe’) and Catharina (on ‘Anytime Anywhere’), who together record as Smerz.

Working entirely without samples, Hekt is a sculptor wielding digital synthesis and sticky hooks, with each element carefully constructed from the ground up and the process just as important as the finished result. “It’s about trying to be honest with what I like at every level,” he says. “To maximise the points where I'm forced to check in with my feelings on each aspect of the songwriting, sound design, mixing, and any other aesthetic choice. Creating digital approximations tilts towards an uncanny space where everything is crystal-clear but also kind of warped.”

On opening track “Beautiful”, the descending bass and acid lines are inspired by tracks Hekt and friends used to test subwoofers in the cars they rode around during their teenage years. “You Won’t Believe” started off as a MIDI piano sketch that accelerated towards the epic emotional impact of EDM stadium-fillers like Avicii and Eric Prydz. In a playful nod to internet culture, Hekt recalls that “I had this idea for adding a vocal that played on YouTube thumbnails and self-promotion. I called Henriette when she was in France and asked her to phrase it as epic as possible, and she sent two ideas over for ‘Beautiful’ and ‘You Won’t Believe’.”

On ‘Anytime Anywhere’, Hekt reimagines his sound at 110 BPM. What began as studio experiments morphed from Neptunes or Timbaland-style productions into a crunchy pressure overload closer to Gescom via Lazer Dim 700, with Hekt also adding his own vocals.

DJ Support: CamelPhat, Blond:ish, Eli & Fur, David Penn, Arielle Free, Bibi Seck Sam Divine

Armada Music and King Street Sounds team up again to celebrate the 20th anniversary of “Most Precious Love” by Blaze presents UDAUFL feat. Barbara Tucker. This release is a timeless classic captivating anyone who encounters it.

This 20th anniversary special includes the Bonafide classic remix by Dennis Ferrer, Michael Gray’s take and two brand new remixes for 2025 all presented in a beautifully designed record sleeve featuring the star herself on the cover.

Kicking things off on the A side is the “DF’s Future 3000 Mix” that has been championed time and time again by DJ’s from across the world. Next up is Michael Gray, a DJ and producer who needs little to no introduction his version breathes new life into the original by taking it down a couple notches and giving it more of a mellow feel. The first of the two brand new remixes is Nico de Andrea, an Afro-house maestro who sports his signature sound once again by bringing his rhythms and melancholic pop melodies presenting the classic in a whole new way. Rounding off is Sam Divine the first lady of Defected who has held residencies at clubs such as Pacha, Amnesia, Sankeys, Ushuaïa, Eden, among others. She sinks her teeth into this remix by building up the vocal into a drop which is sure to keep the dancefloor going for the late nights that need that boost of energy.

Whether this is the first time you’re hearing this anthem or the one hundredth, here’s your chance to own a slice of house music history.

Terence Fixmer Reissues Two Cult Techno Anthems on Red 10 inch Vinyl

Techno pioneer Terence Fixmer re-releases two of his most iconic tracks - Electrostatic and Electric Vision - now remastered for a more contemporary and powerful sound, and pressed on a limited edition 10 inch red vinyl.

Originally released on Gigolo Records in the late 90s and early 2000s, both tracks quickly became underground anthems. Played by legendary DJs such as Dave Clarke, Sven Vath, and many others, they were also named Tracks of the Year by renowned techno publications like Groove magazine.

With these two groundbreaking cuts, Terence Fixmer helped open a bold new chapter in the history of techno - giving birth to Techno Body Music (TBM), a genre blending the raw, industrial force of EBM with the driving energy of techno. Electrostatic, in particular, is considered a foundational track of this hybrid style.

Now regarded as true techno classics, Electrostatic and Electric Vision have stood the test of time and are still played regularly by DJs worldwide, continuing to energize dancefloors decades after their release.


This is the first official repress in over 20 years, and the first time these two cult tracks appear together on one record - sharper, louder, and more essential than ever.

Remastered by Endrik Schroeder

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

Das Trio - Pianist/ Keyboarder/ Produzent Moses Yoofee, Bassist Roman Klobe-Baranga und Schlagzeuger Noah Fürbringer - hat sich in den letzten Jahren mit spektakulären Live-Shows in Clubs in Deutschland und darüber hinaus einen Namen gemacht. Sowohl von R&B, Hip-Hop und Soul als auch von traditionellerem Jazz geprägt, spiegeln die Songs von Ocean die Spontanität, Inspiration und instinktive Raffinesse ihrer Live-Auftritte wider. Der herrlich hektische Titeltrack und das zunehmend ekstatische Minor Issues stehen in Kontrast zu der eher zurückhaltenden Komplexität von At Ease - und während der hypnotische Rhythmus von Fragile ihre Liebe zum Hip-Hop verrät, wird das üppige Richmond von einem herrlich ruhigen Groove angetrieben, bevor es auf seinem Höhepunkt einen Gang höher schaltet. "Jeder liebt Fusion", so die Band, "auch wenn es keiner zugibt", aber das ist nur ein Element des ausgefeilten Stils des Trios, bei dem Moses" außergewöhnliche Keyboard-Fähigkeiten auf Romans fließende Basslinien und Noahs tighte Schlagzeug-Patterns treffen.

DJ Support: Raresh, Ben UFO, Alex Kassian, Hamish & Toby, Chris Stussy, Dr. Banana, NIKS, Carista, Enzo Siragusa and more.

For their fourth release, Moonworks reissue a UK house rarity from 1995: Big Surge – Project A / Project AA.

Originally produced by Paul Kelly, Andrew Grimwood and John Viney in a small North London studio, the record has since become a secret weapon for seasoned selectors. Original copies are thin on the ground and command serious prices on the second-hand market, making this official reissue a welcome rescue.

The release channels the playful spirit of London’s mid-90s underground, full of character and unmistakable charm. ‘Project A’ is a rolling, bass-heavy progressive cut loaded with lush synths and chopped vocal snippets. Alongside it sits a brand-new edit from Kyiv-born Nizar Sarakbi, who strips things back into a subtle, driving version tailored for today’s floors. On the flip, ‘Project AA’ brings a euphoric rush of rumbling low-end, vocoder hooks and peak-time piano riffs – a timeless floor-filler through and through.

As with previous outings, Moonworks have worked directly with the original artists to remaster the tracks and refresh the artwork, giving this lost gem a proper return to circulation.

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.

Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.

As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."

Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!

"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.

The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.

"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.

The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."

The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.

A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."

Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."

Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Sometimes, the simple things are the most extraordinary.

DJ Balaton continues to carve out his part in the puzzle with a fresh 4-tracker on LQL <3. With a nostalgic nod to Frankfurt, the producer shows that it doesn't take much, just the right touch, to install a badass groove. Spacious arrangements and carefully placed synths turn the EP into an echo of a different time in the club.

The title track "Back To The Mood" orbits around that secret open-air energy - one of those full-circle cuts for the crew. You are missing the water, baby is all there is to say about "Flow Key", rolling away at 127, disguised but with energy. "Reso 02" is the track we all wanted to finish but never did, grooving along with restrained intensity, shaping the EP into something personal and unique. Closing off, "Push Yourself" is Geoff White meets Herbert in a club-ready outfit.

All tracks produced by Julian Mosch, Master by Moomin, manufactured at intakt!, cut by Manmade, distributed by Wordandsound.

Artwork by Hannes & John & Printready by John.

Unearthed from the Crammed Discs vaults after nearly four decades (Originally recorded in 1987), a hidden gem finally sees the light. Maurice Poto Doudongo’s The Lost Album arrives on vinyl for the first time—limited to 500 copies, with printed inner sleeve featuring release notes and photographs.

Back in the hazy margins of late-’80s Brussels, where boundary-blurring sounds were seeping through the cracks of pop music, a young autodidact named Maurice Poto Doudongo was crafting music that didn’t quite belong to any scene. Born in Kinshasa and growing up in Belgium, Maurice was a sonic nomad—raised on Franco, Miriam Makeba, and Tabu Ley Rochereau, transfixed by James Brown and Prince, and shaped by the fertile collision between African music and experimental electronics occurring all around him.

Leaving school at 16 to concentrate on music full-time, he began recording on borrowed 4-tracks, using cardboard boxes for percussion, and absorbing whatever sounds the airwaves served him: “Music has no frontier,” he says. “You take what you like. Prince, Fela, Papa Wemba—there is no contradiction. It’s all part of the sound.”

The result? A record that’s equal parts analog drum machine funk, homegrown Afro-pop futurism, and new wave R&B-informed synth poetry. Marc Hollander, founder of Crammed Discs, met Maurice through his friend and associate, musician/producer Vincent Kenis and quickly recognized the spark. The two began working in earnest, preparing tracks intended for a full-length release that, for reasons lost to time and memory, never materialized—until now.

Marc remembers: “The album was never completely finished. “Bolingo” was the only track that came out on a Crammed compilation at that time… and the rest sat on the shelf for decades until we started opening the Crammed vaults.”

Maurice recalls the session as being, “like an unstoppable current”. Listening now, the Lost Album feels both of its time and well beyond it. While tracks like “Momo” sound not a million miles away from the slinky and sophisticated Balearic pop ambience of Wally Badarou’s Echoes album, "Passport Train" shakes itself loose of any genre boundaries, veering into free-form Afro-electronica and tough electronic rhythm. Others pulse with a sweet and soulful groove that suggests dance floors dreamed of but never reached.

In decades hence, Maurice never left music, and the music never left him. Now working mainly as an arranger, he describes his job as being like that of a musical psychologist: “Someone comes to me with their sound, and before anything I have to understand their mind and heart,” he explains. That same intuitive fluency can be heard across this entire album—music that listens before it speaks, that absorbs before it asserts.

This reissue is more than a remastering. It’s a second breath. Sourced from cassette roughs and 24-track demos, carefully restored with Maurice’s blessing, and released as a complete album on vinyl for the very first time, The Lost Album isn’t lost anymore.

It just took nearly 40 years to find its way to you. - Editions de Lux

Music From Memory are thrilled to announce the forthcoming release of ‘Pastoral Blend,’ a new album from the duo of N Kramer and Magnus Bang Olsen (The Zenmenn).

Recorded in Berlin between August 2023 and March 2024, ‘Pastoral Blend’ combines Kramer's improvisational process and mastery of contemporary production techniques with Bang Olsen’s emotive pedal steel guitar playing. The creative process was anchored in capturing various phrases and patterns from the instrument, which were then reshaped, reversed, and layered intricately. This meticulous approach allowed a foundational track to emerge, upon which further arrangements and developments were sculpted. This process, which builds on Kramer's earlier work as Habitat (with J. Foerster, released on Leaving Records), gives the music a gentle asynchronous flow that feels uniquely live and organic.

Merging the warmth and intimacy of instrumental Americana with the glitchy, textural processing reminiscent of early 2000s Max/MSP and influential artists such as Fennesz and Alva Noto, ‘Pastoral Blend’ is a textured drift between analog warmth and digital fragmentation, a delicate equilibrium that duo navigate with remarkable finesse and an air of effortless charm. With titles like ‘Harvest', ‘Agrarian Dawn’, ‘Grasslands’, and ‘Weathered’, Kramer and Bang Olsen evoke a musical vocabulary steeped in themes of landscape, memory, and tradition; a vocabulary that gently alludes to the more familiar and traditional musical structures lying beneath the rich layers of sound. Herein lies the essence of the 'Pastoral Blend’.

Sleeve art and design by Michael Willis.

Metallic Print Sleeve

Johnny Sais Quoi releases his debut release on Music From Memory - a 7-track LP entitled ‘Love On Ice.’ Channelling the spirit of Italo-pop and New Wave, ‘Love On Ice’ was crafted in the whirlwind of spontaneity and energy that changing circumstances often bring. Born from transition and exploring themes of leaving, arriving, coming together, and breaking up, ‘Love On Ice’ serves as an outlet to process, escape, and celebrate the challenges of a new life.

Johnny crafts exquisite dancefloor-focused pop—familiar yet unique, imbued with his own touch, a distinctive sensibility, and a knack for infectious hooks. The opener, ‘No Guilty Pleasures,’ sets the tone immediately as Johnny works his magic with a palette of synths, drum machines, picked guitar, and processed vocals. The title track, ‘Love On Ice,’ delivers a classic Italo-infused dancefloor bomb, featuring a driving synth bass line overlaid by hypnotic arpeggios. There is much here for the dancer, but ‘Love On Ice’ also ventures beyond the dance floor; the closing tracks ‘Ref 23’ and ‘Let's Find A Home’ are prime examples, both showcasing Johnny’s depth and range with their melancholic, mellow atmosphere.

Marco Bon steps onto wax for the first time with a debut 12" that unfolds as a four-part manifesto in sound - at once euphoric and minimalistic, meticulously sculpted through a fiercely independent, DIY approach.


This record is the culmination of more than three decades spent on the fringes and in the heart of club culture — nights of listening, learning, and absorbing the unspoken codes of the dance floor. Each track distills those years into something lived-in yet forward-looking, timeless yet unmistakably personal.

The darker side of Arbilla well known since the Moving Forward EP released. “Wave Function” is absolutely mind-melting here, classy Detroit Techno elements inviting with FM bass line, intensive stabs build and complete the track.

“Shadow Of Dance” is the track for those closed eye moments - a perfect opening track...

The Japanese DJ/producer, label owner who released music on Yore, Motech and Compufunk Records now signed to an another great label.

What more is there to say? It’s a soulful techno thing…

Biz (Peter Elmaloglou) is back to Xistence Records with a track “Everything Changed”.

It’s with full of energy, heavenly melodies, frenetic acid and heavy stabs that builds up and down the track. SuperB!

“Lost In Space” as the title says is a spacey techno track of the highest order, Aubrey brings his signature sound with a massive distorted kicks and destroying bass that perfectly fits the dark atmosphere.

This is definitely a must have for every deep techno fans out there.

Introducing OBI02 – Plight of the Gifted EP by TB Shine, the second release on
Dutch-label OBI Trackz.

Operating under various aliases since the early 2000s, TB Shine is one of the many expressions of Norwegian artist Terje Bakke. Plight of the Gifted EP holds five tracks that drift between hypnotic minimalism and raw percussive workouts, told through disjointed rhythms, haunting atmospheres, and layered tension.

The A side kicks off with Dopamine Dungeon—a slippery, low-end-driven roller wrapped in hazy textures and unstable euphoria. The track traps the listener in a quirky haunt, like the title describes accordingly. Red Army Moody Troopers follows with a tougher edge: straight drums, spectral pads, and an undercurrent of unrest. It’s a track that marches forward but never fully lands, suspended in an unresolved urgency.

On the B side, Plight of the Gifted appears in two versions. The original leans into emotional melodic motifs and fragmented structures, evoking both vulnerability and defiance. The Haunted Version strips things back further—bleeding with space, odd grooves, and a kind of post-club phychosis that lingers long after. Closing the EP is Plague Doctor, a slow-burning piece where a hopeful melody echoes and distant percussion round off the release with a sense of closure while being wrapped in a warm blanket.

With Plight of the Gifted EP, TB Shine offers a layered and personal collection— one that walks the tightrope between control and collapse, rhythm and mood. A fitting next step for Obi Trackz: cryptic, cinematic, and carved with intent.

Body Clinic joins us for our next 12” release with four tribal tech-house cuts, recalling the sound of early-2000s Pacha. With E-Talking on Papa Nugs’ label running the festival circuit this summer, he’s already become the talk of the scene—and this EP makes clear why.

Each track is driven by drums at the highest grade—rugged, weighty basslines locking in with sci-fi warped FX, keeping the floor in constant motion. Trippy vocal cuts thread through the grooves, getting deep into our heads and sending minds off into nearby dimensions. And that’s just the a-side.

Flip it over and Bongo Loco comes rolling in—a true cruiser. Built around a huge breakdown of layered bongos, it kicks back in with the kind of chest-rattling low end that have become Body Clinic’s signature. It’s the moment where hands shoot in the air, the rhythm carrying you further into the night. On b2, My Mate Dave shifts gears again—jumping off the old-school tech foundations and landing closer to the progressive sound we know BC for. It’s a peak-time anthem through and through.

Promo downloads have quickly come in from Chris Stussy, Josh Baker, Christopher Ledger, Roza Terenzi, and East End Dubs, marking it as one of the most anticipated releases of 2025.

Island5 is Islandman’s most focused and detailed exploration of Anatolian psychedelia to date. They re-imagine the deep-rooted sounds of Anatolia through a modern lens. To them, this music isn’t frozen in time — it’s alive, shifting, and always becoming. Tradition, in their hands, isn’t something to preserve in glass, but something to carry, stretch, and let grow.
Each track offers a different angle into this reimagined sound. Analog synths mimic reed instruments, fuzzed guitars evoke forgotten tales, and percussion carries both the pulse of the city and the stillness of rural ground. There are meditative passages that invite silence (Slwly), and sunlit grooves that move the body before the mind (Adada, Rüzgar). Everything flows as if improvised—but nothing feels accidental.

Part 3 of 3 opens with an absolute weapon of a track from Medlar, ‘Hardly Workin’ is a peak time track of the highest order fusing straight up House with a UK baseline to rattle any system. Next up is Texan Father Sheed (full EP from him coming very soon) with a jack track to get the body moving.

Over on the B-side Kenny Blacksmith takes us in a deeper direction with ‘Church’ full of lush pads and warming baselines. To close out the record Dim City takes it up a notch with an end of the night rave anthem.

A duo concert featuring universal artist and activist Moor Mother and Archie Shepp was planned for October 19, 2023, at the Enjoy Jazz Festival. However, a spinal disc operation on the then 86-year-old saxophone legend led to the cancellation of this eagerly awaited world premiere – and to a spontaneous demonstration of respect.
To honor the great Archie Shepp, one of the most influential intellectuals in jazz, an Enjoy Jazz all-star cast spontaneously recorded a tribute song during the festival – organized by festival director Rainer Kern. The line-up consisted of Nicole Mitchell, the most important flutist in the history of jazz, as well as the Enjoy Jazz “Artists in Residence” for 2023 and 2024, Moor Mother (spoken word) and Nduduzo Makhathini (piano).
In her lyrics, the poetess creates a powerful linguistic monument to Archie Shepp, whom she greatly admires, by playing with the titles of the saxophonist's legendary recordings (instead of with him himself). The title “One For Archie” is an allusion to Shepp's 1964 Impulse debut, “Four For Trane,” which, according to “Jazzwise”, is one of the “100 Jazz Albums That Shook The World.” In her moving text, Moor Mother also celebrates Shepp's political and social commitment.
The way Moor Mother rhythmically and aesthetically picks up on Shepp's unique playing style, which oscillates between rugged clarity and deep humanity, begins to improvise on it, and thereby creates new connections, is impressive proof of her masterful artistry. Her recitation is peppered with haunting dramatic climaxes that give listeners goosebumps due to their authenticity.
The B-side features “They've Got A Plan,” a song that is like a beacon. An intense and powerful invocation of “Agenda 2063,” a master plan of the African Union to transform the continent socially, economically, and politically.
Both tracks are available on vinyl for the first time.

Georgian artist and FACTION co-founder Uvall debuts on Conundrum Records with the Vertigo EP - a tightly crafted collection of four techno cuts built for the club.

With previous releases on WSNWG, FLOAT, INGUMA, OECUS, and CANTICLE, Uvall brings deep low-end pressure, precise percussion, and atmospheric tension across a versatile set. From driving grooves to slower, chugging rhythms, Vertigo delivers a dynamic snapshot of his evolving sound.

Pink Concrete's upcoming EP, Jazz Sultan HNT003, is dedicated to Frederick Bruce Thomas (1872-1928), often called the Jazz Sultan. Born in Mississippi, Thomas overcame the hardships of the post-slavery U.S. and personal tragedy to build an extraordinary life through jazz-from France to Moscow, where he became the first Black Russian citizen, and later to Istanbul, earning his legendary title. The EP honors both his triumphs and struggles-celebrating his role as a pioneer who bridged cultures and left a lasting mark on the European music scene of his era.

Skylax Records is proud to welcome one of Germany’s deepest and most respected producers to the family: Sascha Dive, with his stunning Cosmic Ritual EP, featuring house music legend Robert Owens and Zimbabwean vocal virtuoso Vusa Mkhaya. From Frankfurt to the world, Dive has spent nearly two decades carving a unique space where deep house, Detroit techno, and spiritual soul converge—this new release is a testament to that lifelong mission. On A1, Owens delivers an uplifting sermon on the irresistible "Don’t Let No One Or Nothing Stop You", a timeless piece of motivational house drenched in analog warmth. A2’s “Deep Connection To Detroit” is exactly that: a hypnotic, percussive journey into Motor City groove science. Flip the record for “Take Your Time”, another Robert Owens collab that slows things down into deeper, more introspective terrain. Then comes "Cosmic Ritual (Vocal Mix)", where Vusa Mkhaya’s voice channels ancestral energy over shimmering pads and tribal percussion—pure transcendence. Closing things off is “Ultimate Mind”, a stripped-back, late-night cut for meditative floors and after-hours revelation. All tracks are deeply rooted in the vinyl tradition, made for DJs, dancers and dreamers. With this EP, Sascha Dive reaffirms what real house music is all about: soul, message, rhythm, and ritual. Limited 12” vinyl – no repress.

Following on from 2024's "Distant Landscapes EP" alongside Tensal, Amorphic returns (solo this time) to James Ruskin's Blueprint Records with a new ten-track album released digitally and as two four-track vinyl EPs released simultaneously.

Amorphic is a pseudonym of Scottish artist Vince Watson to explore more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels such as Token, Symbolism and Modularz as well as the two labels Vince runs himself: Amorphic and Morph.

With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best in that time including Laurent Garnier, Richie Hawtin, Carl Craig and in this year, Vince will release an LP with Carl Cox on his label Awesome Soundwave. As a touring musician has been able to play at some of the world's best clubs as both Amorphic and Vince Watson, including a residency at Tresor Berlin, DC10 Ibiza with Carl Cox, Berghain and Womb Tokyo as well as being a current resident of 909 Festival in Amsterdam.



earth had been watched by the keepers of the secrets for millennia.
the human experiment had evolved into chaos.
the subjects had destroyed themselves and the planet they were gifted.
a few were taken, leaving a dying planet behind.
the rest of human history was deleted.
the gods sought a new order.
the year zero...

Initially founded in 2024 by Tantum, as an event series in Berlin, this new label will be the home for the music of its core artists Tantum & Hyunji-A, showcasing their music as well as hosting like-minded musicians. A platform for artists that dare to think differently.
Since our first release is so special to us, we decided to press KML001 as a vinyl, with a special edit to the tracklist exclusively for KMLV001.

A1 / Keep My Letters
What better way to start the label other than a very personal track that embodies our connection through music. We wrote this track in 2024 as a closing track for the first KML event where we hosted Guy J in Berlin.
Originally written in Montreal, we've managed to capture the magic in anticipation of something new. Hyunji-A's intimate Korean lyrics describe what this project stands for. We decided to keep it as close to the original sketch as possible - sometimes things don't have to be complicated.

A2 / Baires
Tantum's long sought-after 'Baires' will be part of KMLV001 as an exclusive gift to everyone supporting the vinyl release. A trippy and progressive track that was made, as the name suggests, in Buenos Aires. Capturing the vibrant feel of the city and the WeAreLost tour that inspired this track. Play it from start to finish, this record will make you move!

B1 / Keep My Letters (Simon Vuarambon Remix)
Simon is a close friend of ours and we could not think of anyone better to remix the title track for the label launch. He not only understands our vision but also puts his talent to use, crafting a soulful melodic twist on 'Keep MyLetters'. We are proud to call Simon our friend.

B2 / Mirror
This track is like the dark, evil twin of the title track. It was our first actual collab track, so of course it found its way on the debut EP . It's a proper secret weapon on the dancefloor. Try it out for yourself if you dare.

'Transplant Rejection’ is the work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.

There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Providing more prolific dance floor energy this winter are Italian house pushers Black Box Records, a carefully curated VA of feel good vibe from producers Ruff Stuff, Floska, label founder Vito Fattore, and the eclectic sounds of, DJ GLC. Available on vinyl this Oktober.

Kicking off proceedings is Berlin based Italian, Ruff Stuff. A killer cut, with ice cold drum arrangement which becomes one with the playful chords which propel the energy of the ‘Son Of Will’ track, the female vocal sample sprinkled in for some added pleasure. Young Italian trio Floska deliver ‘Get Up & Dance’ dreamy and mellow sounds on a lo-fi tip, almost seven minutes of pure bliss.

The brain behind Black Box,Vito Fattore, steps up for the B1 as any leader should. Clinical dance floor moods, laced with emotion. Magical pads and synths work their way around the funk laden body of the track, explosive summer time feelings. Switching things up for the closing track is DJ GLC, with a deeper and darker energy than the other three track. Aptly entitled ’Suspense’ mechanical whirrs carry the track, as broken drums burst through the seams of the record. A trip through murky waters that compliments the EP in great fashion.

Another display of zestful house music from a blossoming label, sure to be a winner with tastemakers and groove explorers alike. One to watch out for in the coming periods as Black Box Records continue to supply you with what you need.

Seefeel - eine der visionärsten und experimentierfreudigsten Elektronik-Bands der frühen 1990er - formte in London einen Klang, der Brücken schlug zwischen Shoegaze und elektronischer Musik. Mit ihren schimmernden Soundlandschaften, hypnotischen Minimal-Rhythmen und einer einzigartigen Ambient-Sensibilität schufen sie einen völlig neuen Kosmos. Die neu erweiterte Ausgabe von Pure, Impure vereint drei ikonische EPs der Band zu einem faszinierenden Gesamtwerk. In den legendären Abbey Road Studios von Geoff Pesche neu gemastert, umfasst die 11 Tracks starke Sammlung zudem ein frisch interpretiertes Artwork. Erhältlich als Doppel-LP oder CD, erscheint diese Edition als wahres Sammlerstück. Die enthaltenen EPs - More Like Space, Plainsong und Time to Find Me - präsentieren nicht nur Mixe von Aphex Twin, sondern auch ein bislang unveröffentlichtes Demo des Stücks "Moodswing". Bereits 1993 markierte Pure, Impure, erschienen auf Too Pure, einen Wendepunkt in der Entwicklung von Seefeel: reduzierter, intensiver, hypnotischer als das Debüt Quique. Die Tracks entfalten sich in endlos kreisenden Loops, sanften melodischen Verschiebungen und einem atemberaubenden Zusammenspiel von organischen Gitarrentexturen und maschineller Präzision. Sie spiegeln die wachsende Faszination der Band für Dub, Ambient Techno und Post-Rock wider. Mit Pure, Impure legten Seefeel den Grundstein für ihre weitere Reise - ein Werk von zeitloser Schönheit, das sich jeder Genregrenze entzieht und bis heute als Schlüsselstück ihres Ouvres erstrahlt.

El AMBIE—TÓN is back. The reference #002 is an exercise of Memory (Memoria), it is a place where the water blooms on the earth and the wind in the mountains. It is jungle and city. Mountain and noise. Imbalance and harmony. It is a lake in the sky, a forest between seas. A still cloud in la cordillera, a name that floats. This collaboration between Colombian Drone Mafia and Gibrana Cervantes is the beginning and end of a fragile geography, like the magic and mafia of our platanal.

But who is behind this new combo and bridge between South and Central America? CDM is the new alias of Nyksan, a Bogota-born techno-affiliated deejay and sound artist who is also one of the co-founders of TraTraTrax. From the other side, Mexican composer and violinist Gibrana Cervantes is one of the most outstanding string voices in the daring electronic music landscape in recent times. The duo's cabalistic work creates intricate and dark ambient, all woven around gut-moving sonorities. Colombian Drone Mafia dissolves the boundaries between synthesis and field recordings, crafting experimental yet primitive textures that infect listeners through the layered melodic spaces that Gibrana masters.

We cordially invite you to listen to this journey of immersive drones through vegetation and concrete jungle, music that is at times contemplative and at other times violent. Music framed between deep listening and deep boredom. A glimpse of the sound of the end.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

NYC punk-chic, discodelic funk band Say She She is back with Cut & Rewind, their politically-charged, dancefloor-crushing third album. Led by the powerhouse vocal trio of Piya Malik, Sabrina Mileo Cunningham, and Nya Gazelle Brown, the group channels progenitors like Minnie Ripperton, Charles Stepney, Liquid Liquid, and Raw Silk to create a groove-forward, psychedelic soundscape of pulsing disco beats, heavenly whistle tones, and soaring three-part harmonies. There's a feeling of righteous rebellion simmering beneath these songs' body-moving exterior, though: "She Who Dares" is a call to fight against a near-future dystopia where women's rights have been decimated globally; "Disco Life" decries the racism and homophobia of Steve Dahl's 1979 "Disco Demolition Night," reclaiming the dancefloor as "a playing field where all are free." Cut & Rewind is protest music dressed up as a sweat-dripping, hip-shaking, mind-expanding good time.

Picnic return after a summer hiatus with a dance floor ready 4 tracker from UK artist HenryG. The debut EP from the Manchester based producer delicately transitions between house and electro, while touching on some progressive elements in between.



A1 comes in heavy with tastefully written synths and glitchy electro sounds drawing the listener into a dance floor trance. The A2 of the record, aptly named Serpent, slithers through progressive arpeggiators and a has a particularly distinctive, raw bassline, giving the immersive synths the power to carry the track.


On the flip side, B1 explores a deeper approach to HenryG’s studio output and resonates strongly with early dub techno cuts. The vocal really personifies the track and brings it to life. B2 does it exactly what it says on tin, it’s tough. Although the structure somewhat resembles a more electro tip, it finds the perfect balance in between the electro realm and underground house.

EP- Warehouse find /Pressing Mint and NOS Copies
by this label ditsributed by the Long gone Japanese Companies Cisco and DMR (Dance Music Records)

Credits:
Guitar – Yusuke Horikoshi (Titel: A)
Horns – Yokan (Titel: A)
Mixed By – Osamu Hirose
Programmed By – Soichi Terada, Tetsuto Yoshida (Titel: AA)
Vocals – Kayoko Ishu (Titel: AA)
Vocals, Written-By – Momoko Suzuki (Titel: A)
Written-By – Masanori Ikeda