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Six raw, vocal-led cuts from Italian house veteran Simoncino. Deep Chicago machinery: drum machines pushed into the red, chords hanging in the smoke, voices you never quite catch. Hardware, first takes, mixed hot.

4 slammin' house tracks delivered by Biodive for the latest Craigie Knowes outing. Dancefloor domination awaits you.

Dusty archives, the backrooms of record stores, private reel to reel stashes, master tapes - these are the environs of the Dynamic Range experience.

Dynamic Range is a new label focused on unearthing deep Soul, Funk and Disco jams that continue to resonate with todays dancers and DJ's. Time spent scouring the bowels of the majors and independents has unsurprisingly resulted in numerous gems being added to the DR wants list. High quality, fully licensed reissues are the order of the day, always taken from the correct master source and re-presented to hungry record heads the world over. To repeat, this is a fully legit operation - Avoid the sharks at all costs!

Hot on the heels of DR's maiden release we are pleased to present the evergreen Blue Magic and their anthemic 'Welcome To The Club', apparently a firm fave with Ron Hardy would routinely begin his DJ sets with this wondrous Philly beauty. The record has always been a big influence on the house scene with it finding new fans over and over, and it's easy to see why - brilliant arrangements, musicianship and of course - those voices! Disco bliss. On the flip side is the mighty Tom Moulton's mix of the Blue's 1979 smasher 'Look Me Up', another premium slice of incredible disco soul for the dancers and the lovers. These are the full length versions, pressed across one side each, as it's meant to be, nicely remastered and presented in their entirety.

White/Orange Splatter Vinyl. To All The Ones That I Love wurde im bandeigenen Studio im Westen Melbournes aufgenommen, wobei Gitarrist Greg Rietwyk für Produktion und Mix zuständig war, bevor das Album von Kris Crummett (Closure in Moscow, Dune Rats, Currents) gemastert wurde. Dies ist das vierte Album von Press Club, und die Reife der Band spiegelt sich in den zehn Tracks wider. Dem Hörer wird ein Ritt durch verschiedene Genres geboten, während das Album Themen wie Introspektion, Entwicklung, Veränderung und das Lernen aus vergangenen Fehlern durchläuft. Die Band beschreibt die Entstehung des Albums als eine unglaublich spannende, kreative und befreiende Erfahrung: Die Songs wurden alle gemeinsam in ihrem Studio über mehrere Monate hinweg geschrieben. Diese Art des Schreibens gab der Band die Freiheit, mit verschiedenen Genres zu experimentieren und die Tiefen all ihrer Einflüsse auszuloten.

Transparent Caracao Vinyl. To All The Ones That I Love wurde im bandeigenen Studio im Westen Melbournes aufgenommen, wobei Gitarrist Greg Rietwyk für Produktion und Mix zuständig war, bevor das Album von Kris Crummett (Closure in Moscow, Dune Rats, Currents) gemastert wurde. Dies ist das vierte Album von Press Club, und die Reife der Band spiegelt sich in den zehn Tracks wider. Dem Hörer wird ein Ritt durch verschiedene Genres geboten, während das Album Themen wie Introspektion, Entwicklung, Veränderung und das Lernen aus vergangenen Fehlern durchläuft. Die Band beschreibt die Entstehung des Albums als eine unglaublich spannende, kreative und befreiende Erfahrung: Die Songs wurden alle gemeinsam in ihrem Studio über mehrere Monate hinweg geschrieben. Diese Art des Schreibens gab der Band die Freiheit, mit verschiedenen Genres zu experimentieren und die Tiefen all ihrer Einflüsse auszuloten.

To All The Ones That I Love wurde im bandeigenen Studio im Westen Melbournes aufgenommen, wobei Gitarrist Greg Rietwyk für Produktion und Mix zuständig war, bevor das Album von Kris Crummett (Closure in Moscow, Dune Rats, Currents) gemastert wurde. Dies ist das vierte Album von Press Club, und die Reife der Band spiegelt sich in den zehn Tracks wider. Dem Hörer wird ein Ritt durch verschiedene Genres geboten, während das Album Themen wie Introspektion, Entwicklung, Veränderung und das Lernen aus vergangenen Fehlern durchläuft. Die Band beschreibt die Entstehung des Albums als eine unglaublich spannende, kreative und befreiende Erfahrung: Die Songs wurden alle gemeinsam in ihrem Studio über mehrere Monate hinweg geschrieben. Diese Art des Schreibens gab der Band die Freiheit, mit verschiedenen Genres zu experimentieren und die Tiefen all ihrer Einflüsse auszuloten.

The man of many bands seems perpetually on the lookout for theunbalancedorthesurprising.Likealoveroffirstdates,Nick Wheeldon never tires of adding new formations with an ease that borders on the supernatural. After a highly acclaimed debut solo album in 2021, Communication Problems, followed by Gift in 2022, Nick Wheeldon, the Parisian Englishman from Sheffield, returns with a third opus, Waiting For The Piano To Fall. Nick Wheeldon has recorded nearly 20 albums with countless bands, including Nick Wheeldon's Demon Hosts, Os Noctàmbulos, 39th & the Nortons and Sex Sux, each of them offering him a new opportunity to refine a sound inspired by Gene Clark and Alex Chilton, at once majestic and fragile, delicate and flayed. Waiting For The Piano To Fall is the third LP in a triptych for which Nick Wheeldon has tried to capture a moment, an acoustic photograph. The band, The Living Paintings, had never playedtogether before this album and had no rehearsals before arrivingat the studio. It lends an amazing color, shape, confidence andexperiencetoNick'shypersensitiveanti-folksongs.Moreelaborate arrangements take shape around subtle country soulgroovesinwhicheventhe softestballadsswing.

Once again melding relatable words of life, love and late nights to the hip-shaking grooves that have ignited numerous festival stages, irrepressible indie-soul-funk six-piece Red Rum Club return with their head-bopping new single, Nightcalling. Their first new material of 2021, the pin-sharp, three-minutes of pure cocktail-swilling, dancefloor-carving magic heralds the release of their third album, How To Steal The World, announced for a Fri 12 November 2021 release via Modern Sky.

Unaccustomed to the new ‘wait and see’ conditions of modern living, Red Rum Club bottled their impatience, wrapped up their worries and gathered their thoughts together in cathartic writing and recording sessions for album number three. Reacting with force


to dark winter lockdowns and the extended live break, Nightcalling is a story of new love set to the beat of a smooth soundtrack that’s as close to the sound of red-hot Miami as it is the band’s wind-blown, native Mersey.

Once again melding relatable words of life, love and late nights to the hip-shaking grooves that have ignited numerous festival stages, irrepressible indie-soul-funk six-piece Red Rum Club return with their head-bopping new single, Nightcalling. Their first new material of 2021, the pin-sharp, three-minutes of pure cocktail-swilling, dancefloor-carving magic heralds the release of their third album, How To Steal The World, announced for a Fri 12 November 2021 release via Modern Sky.

Unaccustomed to the new ‘wait and see’ conditions of modern living, Red Rum Club bottled their impatience, wrapped up their worries and gathered their thoughts together in cathartic writing and recording sessions for album number three. Reacting with force


to dark winter lockdowns and the extended live break, Nightcalling is a story of new love set to the beat of a smooth soundtrack that’s as close to the sound of red-hot Miami as it is the band’s wind-blown, native Mersey.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Funkadelic have created an enduring legacy, and the power of their impact is visceral in Detroit. Their records not only played with genre, but possessed a diabolical sense of humour that led to music domination by the late 70s with Parliament, Funkadelic, Parlet, Bootsy's Rubber Band and the Brides Of Funkenstein all releasing albums the same year for two years in a row.

The music itself is beyond stereotype, but equally huge is that they were a black band not allowing themselves to be limited by anyone else's notions of who they could be, having a massive impact on the next generation of Detroit music, Detroit Techno.

But more than just Techno, it is a freedom of thinking that extends beyond boxes, so we included all sorts of today's generation of Detroit musicians and producers to show the wide range of music that was Funkadelic and how these ideas are still contemporary, they endure and inspire.

"mounaiki - By The Bright Of Nigt" Heißt Das Vierte Album Des Niederländisch-neuseeländischen Trios My Baby. Die Band Ist Bekannt Für Einen Roots-getriebenen Hypnotic-dance-style, Bestehend Aus Elementen Von Psy-trance, 70s Funk, Desert-blues (nordafrika), Gwana (marokko), Raga (indien) Und Einem Touch An Edm, Über Dem Schamanenhafte Vocals Zwischen Gospel, Blues Und Antikem Folk Schweben. Mit Diesem Psychedelischen Stilmix Gehen Sie Quer Durch Europa Auf Tour, Nachdem Sie Bereits Bekannte Festivals Wie Glastonbury (uk), Fusion (de), Sziget (hu), Lowlands (nl) Oder Pinkpop (nl) Gespielt Haben.

The first time the album has been released on vinyl
- Includes bonus tracks and remixes by Tiga, Jason Nevins and Almighty
- The release will be announced by a trailer through Dannii Minogue's Facebook page which has 409K followers
- Dannii will promote the release via Instagram stories and posts to her 276K Instagram followers
- Dannii Minogue is available for promo and interviews throughout pre-order period
- "It's one thing to create an excellent three-and-a-half-minute dance-pop song, but another to sustain the appeal over an entire album. Kylie managed it with Fever, Madonna followed suit on Confessions on a Dance Floor. Dannii's contribution to the genre on Neon Nights is every bit as good as those classics." - IDOLATOR
- A veritable pick and mix of the European dance scene at the time, Neon Nights spawned four Top 10 hit singles in the UK 'Who Do You Love Now' (No.3), 'Put The Needle On It' (No.7), 'I Begin To Wonder' (No.2) and 'Don't Wanna Lose This Feeling' (No.5).
- The album reached No.8 on the UK Official Albums Chart and was certified Gold. In Australia it was nominated for "Best Pop Release" at the 2003 ARIA Music Awards.
- Dannii says: "When I embarked on a solo recording career and released my first album in 1990, music was only released on 7' and 12' vinyl. Fast forward through my album releases and throw in a bunch of technology changes, cassingles, cassette albums, CDs, Mini CDs and we are finally back to vinyl! Neon Nights never had a vinyl release - it was the 90's, and the industry was entering the digital age, and no-one was looking back at this experience of music listening. Thankfully Gen Y has embraced the nostalgia of the record player, so you finally get to Put The Needle On It with these tracks (please turn the volume up loud enough to annoy your neighbours!)."

Do you like Love songs After spending a lifetime spent avoiding this subject in song, Joel Sarakula finally admits that he does. On his new album "Love Club" Sarakula relives the golden age of Soulful and Romantic Pop music and connects it with a modern aesthetic. While a deeper message of love and peace flows through the record, Joel Sarakula is no old fashioned hippie: ",Love Club' is about connecting to reality and re-framing the idea of romantic love and loss in the present, loveless age ". Featuring eleven songs touching all genres from disco to blues, from soul to soft-rock, Joel Sarakula's "Love Club" is a profound pop statement.

Joel Sarakula has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway, via the dive bars of Europe and the US. It was the hodge-podge musical tapestry of England's capital that finally drew him to a settling point, in the wake of seemingly never ending run of shows. With personal tastes that span from the more avant-garde to soul and pop greats like Sly Stone, Todd Rundgren and Hall & Oates, there are clear nods to contemporaries like Unkown Mortal Orchestra, Erlend Oye and Toro Y Moi in terms of ambition and style.

With his last two albums "The Golden Age" and "The Imposter" collecting strong radio plays at BBC Radio 2, BBC 6, BBC London, XFM Joel Sarakula has been play-listed nationally in Europe including Flux FM, WDR 5, Radioeins, Bayern 2, Deutschlandfunk and Deutschland Kultur Radio in Germany as well as in Benelux and Italy and Spain. He is a regular fixture on the live festival and club circuit in the UK, Europe and internationally including appearances at SXSW, Primavera Sound, Glastonbury, The Great Escape, Liverpool Sound City, Scala London, Tallinn Music Week, V-ROX (Vladivostok) and Reeperbahnfestival Hamburg.

"Love Club" is Sarakula's bold and unashamedly emotional next step. In essence the album is a homage to the soulful singer & songwriter artistry of the Seventies filtered through a darker contemporary lens - fitting for these uncertain times. "I always shied away from generic love songs," the Sydney, Australia born songwriter admits, "but on this record I embraced the subject wholeheartedly... and intellectually, looking at themes of love, lust, loneliness and everything in-between." Take the first single "In Trouble", co-written with Michele Stodart of The Magic Numbers, as the best example for Joel Sarakula's unique, and honest approach to making music. "We Used To Connect" questions the changing nature of relationships in our social-media addicted world: 'We used to connect in the real world too, now the touch of your hand is a digital cue'.

"Coldharbour Man", on the other hand, examines the identity of the song's narrator and the artist vs. fan dynamic all wrapped up in a disco love song: "There's a lot going on in this particular track. I feel my writing has grown emotionally...", explains Joel Sarakula. "Just best to listen yourself and make up your own interpretation!: 'We met in a song come to life like some fantasy cliché, though I'm known for my moves in the dark you flooded sunshine on my day'. Then there's "Baltic Jam", capturing romantic love and loss in authentic 70s confessional singer & songwriter style and of course "Dead Heat", a song about how there is struggle in the most perfect relationship pairings as the match is so even: "I recall an ex-girlfriend of mine... when we first met, we thought we hated each other but we eventually flipped that emotion and realised we had a deep passion and love for each other, there just was a lot of underlying sexual tension!" : 'It's a battle we could only win, if we lose. We'd be stronger if these lonely ones became two'.

More than a year in the making, Joel Sarakula recorded "Love Club" in various studios around London and Berlin capturing soulful performances from his many musical comrades on vintage analogue equipment. "This record has truly been a labour of love. Recording and privately sharing these performances amongst my collaborators started to feel like a bit like a club - I guess that lead to the album title! I was surprised how much I actually enjoyed the 'love-making process' and I look so much forward to playing these new songs on stage with my band." We can't wait, Joel Sarakula.

Cryosleep is the debut album from Null + Void, the alias of prolific New York producer Kurt Uenala. It's an album of contrasts and tension, where darkness is pierced by blinding light, and where moody new wave bleeds into stark electronics. In one moment, joyful memories give way to isolation and regret, and in the next, Cryosleep explores the catharsis of crowded dancefloors. Throughout the record, Uenala matches his dynamic production with incredible vocalists-from Depeche Mode's Dave Gahan and the inimitable Shannon Funchess, to Black Rebel Motorcycle Club and The Big Pink. Null + Void's take on dark pop meshes with his love for Detroit electro, poignant synth melodies, and cold atmospheres. With the cinematic opener 'Falling Down' and brooding instrumentals like 'Come To Me", Cryosleep can feel like the soundtrack to a lost space epic. No doubt, the album evokes Blade Runner, dystopian landscapes, and the splendor of far-off galaxies. As Uenala puts it, Cryosleep is inspired by 'classic sci-fi stuff,' images of futuristic machines sustaining humans frozen in a dreamstate. The melancholy 'Foreverness' explores what they might be thinking: 'A collection of fragments, memories of a life lived-preserved, but incomplete and jumbled.' Meanwhile, 'Into The Void' paints a peaceful, otherworldly picture, 'like soaring towards a white light.'

Expansion's most successful and longest running compilation series returns with a 2017 edition. The concept remains the same, fifteen must-have modern soul room gems taken from the year's biggest dance floor spins on the soul scene. While tracks here have topped UK soul charts, many have not been available in all formats. Once again, attention is paid to the 'flow' of the 15 gems chosen here from shuffling beats to boogie to more soulful house as played at modern soul events. Participants this year include Omar with Los Charly's Orchestra, Tawatha Agree (voice of Mtume's Juicy Fruit') with Aeroplane, Kenny Thomas with Thames River Soul produced by and featuring Incognito, and both Wez and The Groove Association formerly members of Brit Funk group Second Image. Leela James is here after her stint in a US realty TV show R&B Divas: Los Angeles', other guests including Amp Fiddler, Faith Evans, Trina Broussard and Lifford.

Classic LP reissue - a 17 track double LP set with download code.
Cypress Hill's 4th album originally released 1998, includes Dr. Greenthumb, Tequila Sunrise, Audio X ...

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

Jolene Cuts returns with a 5-track vinyl-only masterpiece that channels the golden era of 1998 French House while pushing it into the future. No edits—just 100% original productions from Danny & Mike, two true craftsmen of filtered house grooves. “Jackpot” kicks things off with a euphoric, sample-driven floor-burner, dripping in funk and irresistible filter sweeps that recall the raw magic of classic Roule and Crydamoure records. “Voiture” follows with a sleek, late-night ride through hypnotic basslines and shimmering disco loops, perfect for peak-time club moments. On the flip, “So Cruel” brings soulful vocal chops and deep, rolling grooves in a way that nods to the emotional side of the French Touch era. “Love U” injects pure joy into the mix—swinging drums, warm filters, and a seductive disco flair designed to light up any dancefloor. Closing it all, “Disco Road” is a driving, high-energy weapon blending pulsating bass and filtered hooks that feel like 3 a.m. in Paris circa ’98. This is a love letter to French House—strictly vinyl, strictly limited, five unmissable club bombs. Perfect for DJs who crave that raw filtered energy, vinyl purists, and anyone who knows the true essence of French Touch: groove, soul, and pure dancefloor ecstasy. Once it’s gone, it’s gone.

It’s time for Ahad’s biggest move yet: his first full-length album, P*KI. Powerful, deeply personal and unapologetic, the album is rooted in the dancefloor and in Ahad’s belief that club culture is a space where he can “exist completely authentically.” By reclaiming a word he has personally been confronted with, Ahad transforms P*KI (pronounced Pee-Star-Kay-Eye) into a statement of joy, pride, celebration and self-love. The album’s singles capture that spirit: ‘Put That Banger On Next’, featuring London MC Capo Lee, brings a high-voltage grime energy; ‘Make Space’ is a euphoric tribute to the diverse communities who find solace in London nightlife; while ‘Left / Right’, made with Dismantle and Jam-akabi, delivers a dark, futuristic breaks sound built for warehouse dancefloors. Across the record, Ahad’s signature UK club sound is pushed further, with tracks drawing on everything from gqom and drum’n’bass to South Asian classical instruments, Punjabi folk and devotional music such as qawwali.

The first release on Edition Hawara's new sublabel Hawara International is a record that leaves little room for ambiguity about its intended use. Produced by Takashi Shima of the band Piper and released as part of the Sun Tan Club series, "For Light Tanning" was designed to accompany the pursuit of the perfect summer tan. It came complete with tanning instructions and oil recommendations, and was the subject of a promotional partnership with Hawaiian Tropic. The music drifts between ambient, new age and lifestyle soundtrack genres, providing an elegant backdrop for beaches, pool parties and other seasonal activities. Having long been forgotten outside a small circle of collectors, the record now returns as an unusually thorough document of late-1980s leisure culture. Whether it actually improves the tanning process remains unverified.

• Libertine is Gene’s final studio album released in 2001
• Highlights include the single ‘Is It Over?’ and ‘O Lover’
• Double LP pressed on 180g Heavyweight vinyl with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

This latest project by Groovedesign Kollective is rooted in movement, thoughtful tension, joyful repetition and dreamy release.

United Tribes
The Groovedesign factor shapes itself in the opening track 'United Tribes' by repositioning intimacy over chaos, a life affirming sound that belongs to those magic early morning hours that really shape experiences. And generations. A unique blend of Afro, Funky beat and Disco Clubby grooves merging with visionary House piano's themes within a rich, deep electronic tapestry and dubby effects.

Supremes
This track perfectly complements the previous yet it is its own groove and carries great dancefloor weight. Further developing the concept of exquisite fusion and fine contamination between already blurred genre's lines, where feelings and emotions meet their sonic counterparts.

Feeling the dancefloor comes as a second nature to Groovedesign: unrelenting yet subtle, innovative yet grounded. Their music carries experience and innovation without announcing itself, guided by an intuitive sense of energy rather than formulas.

CLUB U NITE RECORDS PRESENTS: HIS MASTER’S VINYL EP

Club U Nite Records takes it straight back to the early ’90s with four raw and swinging house cuts.

Manhattan Project opens with “Shufflin’ On” – a fat, slamming shuffle groove packed with jazzy touches, swinging drums and a classic old-school organ. “Everybody Move” follows with chunky Rhodes loops, soulful samples and a straight-up floor-moving vibe. Killer!

On the flip, Black Chunes Productions delivers “Jerk Yu Body”, channeling the raw swing and chord-driven energy of the early-’90s New Jersey vibe. Shuffled hi-hats, snares and dark leads bring the groove of that era straight back.

Reign Of Rhythm closes things out with “Organic Pressure” – stripped-down, driving, dope organ house. Minimal, but seriously fat.

Four cuts of pure 1991-inspired house gold.

Crush is Delian League’s debut release on Causal Chain, presenting a tightly constructed yet
exploratory take on contemporary club music. The record recontextualizes a range of dance music traditions – electro, grime, UK bass, techno and dub – through a controlled, megamix-like approach that prioritizes flow and transformation over genre fidelity. Tracks shift between lopsided rhythms, club motifs and washed-out pads, creating a sense of constant motion and tension. Unified by themes of intimacy and unpredictability, Crush reflects an
outsider’s perspective on club music and gestures toward possibilities beyond current trends.

Charlotte de Witte now unleashes her slamming three-track EP ‘The Resistance’, featuring Theo Nasa and XSALT, out on KNTXT. It follows the astonishing summer tour of her new audiovisual show ‘The Resistance’, including a spectacular ‘XXL’ version at Belgium’s Rock Werchter in July, for a 40,000 audience watching from inside and outside the tent.

World #1 techno artist Charlotte de Witte’s new show continues a standout year of experimental ventures and celebrations, global pop-up shows, monster street parties, incredible new music (EPs and Deluxe LP)… and most recently ‘The Resistance’ AV show world premier at UNVRS Ibiza and the EU tour. The new ‘The Resistance’ EP is hard, fast, and uncompromising. It features Theo Nasa, whose raw, deep techno EP ‘Lifeline’ was released on her KNTXT label; vocal artist / longtime collaborator XSALT, (previously on ‘No Division’, ‘Overdrive’, ‘Roar’, ‘How You Move’); and Charlotte’s own vocals on a personal track ten years in the making.

‘The Resistance’ EP title track feat. Theo Nasa is urgent, demanding, unapologetic. Juddering main theme, rattling hyperspeed beat, spacey hoover swoops form a matrix for the deep, amused authoritative voice of Nasa – ‘we are unity, we are techno’. The brief ‘The Resistance (Intro Version)’ opens with futuristic FX and Nasa’s voice to the fore introducing the techno credo.

‘Never have I ever teased a track this much as I teased ‘The Resistance’. From the moment the track was being made in the studio, I knew this was going to be a special one. Theo Nasa captures the spirit of the underground and guides you through the essence of club culture like no one did before. An entire A/V show grew out of this feeling, this philosophy. It’s one of the biggest tracks I’ve ever made.’ Charlotte de Witte

‘See Through The Lies’ feat. XSALT: futuristic FX, fast stabby synth theme, and XSALT intoning ‘see through the lies. It’s time to take control’. A message of defiance. ‘XSALT delivers again on ‘See Through The Lies’, offering his own take on the EP's theme. Open your eyes. Break the illusion, see through the lies. Release the pressure. It’s time to take control!’ de Witte says.

‘Another Place’ has relentless pace, twanging pizzicato synth, and de Witte’s whispered phrases becoming full voice. ‘’Another Place’ has been in the making for over a decade. It saw the light of day in Brussels, where the lyrics took shape together with my friend One Track Brain. The track was forgotten and resurfaced years later, leading to an entirely new track created around that magical vocal from all those years ago. This is an EP very close to my heart.’

At the heart of ‘The Resistance’ EP and AV show is a message central to de Witte’s work: Protect Club Culture and the communities that sustain it. That’s why de Witte is donating all proceeds from The Resistance EP to The Nighttime Foundation, a global nonprofit dedicated to safeguarding and shaping the future of nightlife, empowering grassroots communities and promoting nightlife as a vital form of culture worldwide.

Colours, to the mast, well and truly nailed.

With Picture About You, Recut opens a new chapter, blending the heritage of house music, acid textures and underground electronic culture into a contemporary vision for today’s dancefloors. Rooted in the essence of club culture, the EP explores hypnotic grooves, evolving patterns and the timeless dialogue between the DJ, the sound system and the crowd, where emotion, movement and energy become a universal language. The title track, “Picture About You”, reflects Recut’s artistic identity through the lens of his personal history and family roots. An important part of this story comes from his uncle, known as Mr. Steve, who in 1975 founded one of the pioneering independent radio stations in Southern Italy during the early years of independent broadcasting. His connection with radio, disco culture and the first generation of Italian clubs embodied a spirit of discovery, sharing and musical exploration that continues to shape Recut’s approach to music.

Musically, “Picture About You” unfolds through a hypnotic and emotional groove, blending old-school character with a contemporary perspective. A timeless club track where past and present come together in Recut’s own musical language. “Hey Jack” is a powerful dancefloor weapon driven by unstoppable grooves, hypnotic acid lines and captivating arpeggios. Built for peak-time moments, it pushes the energy forward with a relentless rhythm designed to ignite the crowd.
“Subwave” takes the journey into a deeper and more massive dimension. Driven by powerful low-end pressure, evolving dynamics and explosivetransitions, the track builds tension throughout its progression before releasing its full impact on the dancefloor. Closing the EP, “Neon Flux” delivers the final impact: fierce, electric and uncompromising, a track designed to push intensity beyond the limit and leave a lasting impression. Recut Music — Fun for DJing!

The third release on Sapore Italiano dives into the hypnotic and untamable power of fire.

At the heart of the release is Fuoco, a contemporary reinterpretation of Lino Rufo’s composition, reworked by Devozioni into a warm and emotionally driven club anthem.

On remix duties, a carefully selected cast pushes the record into deeper club territory, blending Italo disco, tech house and cosmic grooves with modern production aesthetics. The result is a versatile EP that moves effortlessly between peak-time moments, sunrise sets and leftfield dancefloors.

Essential for fans of: Italo, Cosmic, Indie Dance, Modern Disco and underground house music.

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

Terrestrial Funk welcomes Parisian producer Raymond D. Barre with a fun exploration into FM Synthesis. Bouncing in that sweet sweet midtempo zone all six tracks squelch to your heart’s delight. Simply put, “light-hearted and good vibes electro acid tracks”, as Monsieur D. Barre described them when he demoed the tracks to Terrestrial Funk two years ago. But they’re much more. Perfect programming brings that slow swing, wonky warped vocals on songs like ‘Broken Nose’, and the bells that chime in the releases final song ‘Mes Bêtes’ leave you in a paradox of fulfillment and desire. That’s the best part, you can flip the record back and listen to the release right over. DJs and home listeners alike are in for a treat with this one. Heck, get yourself two copies and mix every track back to back in the club. We guarantee it’ll go off.

CER015 sees Celestial Echo bring back one of the great modern soul 45s, Ramsey & Company – “Love Call”.

Coming out of New York in the late ’70s, Ramsey & Company was led by Mainor Ramsey, with the group originally playing the Catskills supper club circuit. Their only single was released privately on Ramsey’s own Ramco label, with copies sold at shows and barely making it into wider distribution. Like so many great soul records, it found its real afterlife much later, becoming a favourite across the UK modern soul and rare groove scene.

“Love Call” is the reason this record has carried such a reputation for so long. A beautifully arranged modern soul dancer, it has that perfect late ’70s balance of groove, song and musicianship. On the B-side, “Leg Grease” brings the funk.

Original copies are now almost impossible to find, often selling for serious money when it turns up and even the Lotus Land reissue has become expensive in its own right. This Celestial Echo edition puts the track back into circulation properly, cut loud and ready for the DJs and soul heads who have been waiting on a clean copy.

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

Electronic mainstays and longtime collaborators Steve Bug and Stefan Braatz return to cult NYC label Nu Groove with the vinyl edition of their four-track EP, Circles. Showcasing a refined blend of new deep house, acid and underground club sonics, the EP opens with ‘Circles’, featuring the Chicago legend Virgo Four whose vocals bring a timeless energy to the record. A driving Beat Mix follows, transforming the original into a tougher, more DJ-ready cut. On the flip, ‘Nu Acid’ dives into raw machine funk and hypnotic pressure, while ‘Thiz Mood’ closes the EP while highlighting the duo’s mastery of tension and rhythmic detail. Rooted in the spirit of classic house while sounding firmly contemporary, Circles EP is another essential addition to the Nu Groove catalogue.

Groovedeep, the international supergroup comprised of Toronto’s Ciel and DC stars James Bangura and Jackson Ryland aka JR2k, brings Fixed Rhythms a 12” of four racing, groovy, energetic, funky and lush techno cuts. This is the second vinyl outing by the group, the first one being the recent “Funk Solo” on Turbo Recordings featuring remixes by Batu, Shed, and Mark Broom.

“Speed Queen” opens up the EP with hypnotizing techno that eschews any four-on-the-floor demands. Up-tempo with a touch of house and handdrums and a tantalizing vocal clip. “Witness” has a similar structure…handdrums, non four-on-the-floor kick drum composition, rhythmic vocal chop-work, but whereas A1 is the leap into the deep, “Witness” has us diving down, exploring the eerier depths.

Whip to the B-side with “Flashback”, a slightly more east coast club track while also incorporating a bit more of a pummeling kick. The aforementioned Groovedeep sonic signatures are there, and…can’t get enough of the handdrums?!?! Well then just let that last “Witness (Bongo Heavy VIP)” track slide in, a slightly meaner (and of course bongo-ier) boom of a take on the A2.

Don’t let this one speed by you!

In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.

Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.

There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.

In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….

As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.

As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.

'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.

The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.

An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….

Tenuous Links welcomes Torino’s very own VIOLA to the label with his new ‘Wrinkles’ EP. As the label owner of Reflue Records, VIOLA first caught my attention with his debut full-length release, a body of work that showcased a deep, rugged sound and a clear technical prowess shaped by his surroundings rugged coastlines and industrial landscapes of Torino in northern Italy. After speaking with Cristiano for over a year, it felt like a natural progression to bring his music to Tenuous Links. “The music I write almost always functions as a visceral soundtrack to whatever environment surrounds and infects me while I'm creating. Deeply rooted in the architectural contrasts of the places I’ve inhabited.”

‘Wrinkles’ is VIOLA’s second full-length body of work, yet the years of graft and dedication behind it are immediately apparent. Across three original tracks and a remix from London’s Jay Duncan, the EP delivers pure grit and crunch, inhabiting large, cavernous atmospheres grounded by pummelling bass, dynamic drums and intricate rhythmic detail.

The title track ‘Wrinkles’ is an ode to club spaces and the scene that revolves around them. Its broken rhythm channels the dancefloors of Cristiano’s formative years, spent partying in abandoned bunkers and warehouses in and around Torino. VIOLA explains: “Crafting such a raw, gritty bassline felt like an absolute necessity during the writing process, retracing memories of long nights spent dancing in silence.” The track’s cavernous atmosphere mirrors those pitch-black, unlit spaces, drawing us deeper and deeper into the abyss, with only brief glimmers of light offering reprieve from its relentless, all-enveloping bassline.

‘Mon Tom’ draws heavily from VIOLA’s hometown and his complicated relationship with Torino ,a city where tranquillity and beauty sit alongside heavy industry. The calm of the coastline is violently interrupted by vast steelworks and plumes of black smoke, leaving an imposing industrial mark on both the landscape and its people. The track reflects these contrasts. Metallic yet fluid, it moves at a faster pace, built around a driving 4/4 rhythm designed to suspend the listener while skittering percussion creates an increasingly uneasy sense of movement. It’s a meeting point between the beauty and brutality of the environment that inspired it.

‘P Maggiore’ was written between 2019 and 2020 while VIOLA was living in Rome’s chaotic Porta Maggiore district. Surrounded day and night by the grinding noise of trains, screeching tram brakes and beaten metal, he translated those raw auditory memories directly into high-pressure sound design. Yet, in contrast to the intensity of his surroundings, VIOLA deliberately pulls back the tempo.

Rounding off the EP is a skeletal remix of ‘Wrinkles’ from London’s Jay Duncan. She strips the original back into a techy, rolling cut, retaining its atmosphere and darkness while introducing a lighter touch of minimal-esque sound design. The result is a subtly transformed take on the title track that provides a fitting conclusion to the EP.

‘Wrinkles’ EP is a record shaped by place, by architecture, industry, memory and the physical spaces that leave their mark on us. From Torino’s industrial coastline to the chaos of Rome and the darkness of abandoned club spaces, VIOLA turns his surroundings into sound. Coming to vinyl and digital October 16th of October.

2026 Repress

(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition. In the late nineties, the budding producers Morgan Geist and Darshan Jesrani bonded over their shared love of slower tempos and '70s and '80s NYC club culture. Obsessed with record digging and the sounds they heard on late-night "club classics" radio shows—and turned off by current releases they saw as artlessly "updating" sublime disco by sampling, filtering and subjugating them with huge kick drums —the duo set out to discover how their favorite old 12" records were made. They naturally gravitated towards extended dubs of songs—full of strange mistakes and echoing backing tracks—instead of the better-known vocal versions. Lacking the big budgets and gear that made so many of their favorite classic records come together, they were forced to take a guerrilla approach. They reprogrammed their techno-oriented arsenal of secondhand synths and samplers, using novel digital recording technology to capture live instrumentation and prioritizing mood over hooks, and the resulting music was just wrong enough to sound unlike anything else being released at the time.After just four underground 12" releases, the duo—now well-known as Metro Area—released their first and only album, Metro Area, in the fall of 2002. Fifteen years later, it's time to celebrate the culmination of their shared history and inspiration once again. Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The 12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.

Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.

Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.

To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.

Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’

Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.

Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.

Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.

With her fifth solo studio album, Half An Owl And A Full Moon Rising, landing on Dekmantel Records, Steffi harnesses the energy of the dancefloor for a powerful, uplifting ride into the core of what makes this culture so transformative. From her years as a dedicated raver in the late 80s, through to her global tours, prolific production and ceaseless love for music in its many forms, Steffi's innate understanding of the dancefloor informs this new body of work. Key to all of this is the joy of the club experience: the high energy and the vibrational field that's created when the DJ, their musical selections and the dancers align on the same wavelength. The "Feel Factor" as she calls it. Even the title is a reference: half an owl meaning half a pill.

Each track is imbued with pure, unfiltered club energy. Steffi's approach with her albums is to start from scratch, working up and out from a core idea rather than compiling music from an existing collection, and Half An Owl And A Full Moon Rising is comprised of eight cuts, whittled down from over 40. Opening with 'The Rolling Wave', the album immediately transports the listener into a world of emotionally and physically moving soundscapes. Across all eight tracks Steffi weaves together potent drum programming with ethereal pads, strings, heartrending melodies and straight up grooves: honest, no fluff productions that are designed for a very specific purpose. Listening to cuts like 'Sweeping Leaps', you can hear echoes of the huge variety of house and techno Steffi has absorbed. The title track wraps you up in its scintillating rhythms and heady strings, while, midway through, 'Acoustics Of Space' fires on all cylinders with its dynamic tempo, relentless drums and euphoric pad work.

Palms Trax returns to production with his first release since 2019. The first single off his upcoming 2 track EP 'Soft Trance, Hard Gossip' is a journey through bold basslines, ear tingling acid lines and hopeful synth lines. It feels measured in its temperament for a listen on the bus home whilst punchy enough to earn its place across festival and club sets this summer. The title track Keys To A Printed Garden captures him at his best, moving deeper into a lush, melodic setting that stretches beyond the dancefloor while never fully leaving it behind. The track is built around warm deep house grooves, hazy nu groove textures and subtle IDM notes. The record unravels with a dreamlike smoothness. Swirling synth work, jazz-inspired saxophone lines and soft lo-fi textures give the record an immersive, almost weightless quality, while moments of glitch and ambient drift push it into more experimental territory. Even at its most reflective, steady percussion and rolling grooves maintain a subtle club-rooted pulse, balancing emotional depth, introspection and atmosphere with movement, rhythm and understated precision.

Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.

After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.

Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.

Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.

His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.

THEODOR are a musical export from Darmstadt who are now well known far beyond the insider scene, enchanting audiences worldwide with their atmospheric, slightly psychedelic-sounding sweet soul. GERD JANSON, meanwhile, whoseNew Release Information musical roots also lie in Darmstadt, has been sending house, techno and disco
ravers into ecstasy worldwide as a DJ for decades. The @robertjohnsonclub resident also runs the @runningbackrecords label, which has been in existence since 2002, and regularly tinkers with electronic productions and remixes alongside his sound engineer @lopazz_mixmastering.

Sundae Soul, a Darmstadt-based label, has now, in a mathematical masterstroke, put two and two together and brought THEODOR and GERD JANSON together musically. It just had to be done. The result is a 7” single featuring the boogie-style track “Your Love” (to be found on THEODOR’s second album “Holocene”) on one side and the “Your Love – Gerd Janson 7” Mix” on the other. The term “mix” is almost misleading in this context. For his remix, Gerd has taken “Your Love” apart on the musical dissection table, filleted it and put it back together completely from scratch. The remix builds on the original with great skill and squeezes a technohouse club hit out of the producer-DJ’s repertoire.

We all agree – this one’s got to go straight into the club. So let’s get down to business and grab that vinyl.

Swivel inaugura su nuevo sello Swivel Traxx produciendo cinco tracks originales recién salidos del horno.

Swivel Traxx steps up with ‘Out of Circle EP’, a 5-track trip delivered by label head Swivel. Blending raw 90s vibes with modern hypnotic soundscapes, the EP shifts gears from tense ambient to direct, Birmingham-influenced techno and high-energy cosmic madness. Built for both deep head-trips and pure dancefloor mayhem:

A1. Out of Circle (Prelude): A beatless atmospheric opener setting a mystical vibe for the whole record. A hypnotic, bell-like arpeggio glides over a warm Moog bassline and thick tension, teasing the concept behind the EP.

A2. Out of Circle: The title track drops straight into club territory while keeping things dark and mysterious. Massive cavernous pads, a driving rhythmic base, and a relentless sequenced synth loop pay homage once again to classic Birmingham techno.

A3. The Black Knights: A dark, dystopian trip. Driven by a hypnotic groove and sharp triplet hi-hats, this one brings a combat-ready energy made for peak-time dancefloor moments.

B1. Starlight: The fastest joint on the record (140 BPM). Equal parts melodic and club-focused, it locks TR-909 drums, Moog bass, and lush pads together for an astral trip into the unknown.

B2. Roundtable: A heavy, mental, and dark closer. Packed with raw analog-filtered synths, broken beats, and a relentless interplay of open and closed hi-hats, it delivers pure energy for the floor.

The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.

This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.

Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.

BAUGRUPPE90 return to their MONTAGE imprint with a four-track release built around different shades of peak-time functionality, moving between emotional warehouse pressure, stripped-back bounce and rolling club mechanics. A1 “Crowd Can’t Sit Down” sets the tone with an emotional big-room charge: a warehouse stomper driven by scale, tension and a sense of release without losing its physical weight. “The Bell” follows with a cleaner, more direct approach, pairing old-school energy with a bouncy, forward-pushing groove and a distinct FM-driven sound that gives the track its sharp, instantly recognizable character. On the flip, “Gummy Cluster” moves into more unconventional territory. Built around inventive sound design, shifting textures and an unusual rhythmic vocabulary, the track functions as a club tool while maintaining a character of its own. Closing track “Roller” is exactly what its title suggests: a locked-in, propulsive groove designed to keep moving without unnecessary detours. Across four tracks, BAUGRUPPE90 balance personality with utility, keeping MONTAGE firmly focused on music made for the floor.

Renowned London producer, DJ, and Apron Records founder Steven Julien taps into his alter-ego with his new album, 808 PRINCE out 16th October.

Written and produced around iconic drum machines, 808 Prince embraces raw drum programming,
analogue textures, and bass-heavy compositions.The record moves fluidly between peak-time club energy and experimental rhythm studies, exploring the shared languages of techno, house, acid house, grime, and electro. Rather than looking back, the album reimagines the influence of the 808 through Julien’s distinct production style, creating a body of work that is both timeless and forward-looking.

The album features a strong lineup of collaborators, including James Massiah, J. Caesar, Jarren, Touch Sensitive, and KIAH, expanding Julien’s sonic universe while remaining anchored in pure groove and movement. More than an album, 808 PRINCE marks a new chapter in Steven Julien’s artistic practice, bringing together decades of club music influence, hands-on studio craftsmanship, and a lifelong fascination with rhythm into a singular statement designed for dance floors worldwide.

Love or its absence dominates the intimate songs on the new album from ARBORIST – the musical outlet of Mark McCambridge. Looking For Love, Arborist’s fourth album of exquisitely inventive Americana, places us firmly in his hometown of Belfast, allowing it to act as a microcosm of the wider-world, with all its foibles and charms. We find fictional protagonists scouring the dark corners of the city, wiling-away afternoons in strip clubs, wandering the streets in all weather and reflecting on the harsh reality of modern society, all in search of an elusive love – emphasising our need for it now more than ever.
Looking for Love is ARBORIST’s first album to be self-produced by McCambridge, largely from his home studio in Belfast – and at times it feels like we are in the room with him. It’s a different kind of record for him as previously he has always sought collaboration; whether it be with Kim Deal who chose to sing intertwined harmony on his debut single “Twisted Arrow”, or recording in The Curfew Tower owned by The KLF’s Bill Drummond who described Mark’s songwriting as being “riven with more loss than any record since Leonard Cohen quit this world”, and who Matthew E White and his Spacebomb band collaborated with to such astonishing effect on the previous Arborist LP, 2023’s An Endless Sequence of Dead Zeros, winner of the prestigious Northern Ireland Music Prize. This time, with no outside producer steering the way, McCambridge found that the quiet hours were where he felt most at ease, despite periods of trial and error, and, by his own admission, moments of feeling genuinely lost in it all.

Despite playing many of the parts himself, McCambridge still called upon old friends from the community around him; Spacebomb’s resident bassist Cameron Ralston (Bonnie Light Horseman, Hiss Golden Messenger) again features throughout the record, alongside Eamon Ferris (The Waterboys) on drums, with the great and the good from Belfast’s vibrant music scene. Grainne Meyer plays concert harp and Aga Olek plays violin for the quasi-title track “Looking 4 Love” – an off-kilter love-letter to Belfast. Meilana Gillard provides a sleazy saxophone on “Bye Bye Johnny Cash” – a seedy tale of a man obsessively visiting a dancer in a club, and The Larne Community Youth Choir provide backing vocals for “Go Kill The Fatted Calf” – a song Mark wrote about his son growing up, a take on the parable of the prodigal son, with Jonny Ashe’s blistering guitar solo adding an album highlight. The Errigal Ensemble String Quartet and Aisling Agnew’s breathtaking flute solo feature on “What Is It You’re Asking” – a song about love, or its absence, both personally and universally in these times.
McCambridge was recently honoured with a “Fellowship” by the Seamus Heaney Centre at Queen's University Belfast where he collaborated with such illustrious names from the literary world as Nick Laird, Caoilinn Hughes and Conor McPherson. Through the University he was given access to the music department's Steinways and pipe organs, and decided to try one out for the album’s centrepiece “I’ve Been A Flaneur”. As Mark explains, "The drone on the pipe organ — and the sound of it starting and stopping — was so visceral that I decided to try a half-written song against it right there and then, and this came out in one take… The song was a breakthrough artistically - I don't think I'll ever record in the same way again after this."
The album was engineered by longtime collaborator Ben McAuley (Van Morrison) and mixed by Jimmy Robertson (Anna Calvi, Beth Gibbons, Fat Dog). The results are staggering, devastating and uplifting in equal measure, calling to mind albums such as Songs Ohia’s Magnolia Electric Co., The Divine Comedy’s Regeneration, The Blue Nile’s Hats and Wilco’s Ode to Joy, as well as early-70s records from John Cale, John Lennon and Bill Fay.

Belfast native Mark McCambridge played his first show as Arborist supporting James Yorkston. A solo tour followed, and impressive performances led to notable support slots alongside Low, Cat Power, Echo & The Bunnymen and Guy Garvey. Arborist's debut single, the Americana-tinged "Twisted Arrow," caught the attention of the critics with an astonishing duet with Kim Deal of The Breeders. The debut album Home Burial (2016) and its follow-up, A Northern View, both received glowing praise, from The Guardian ("instant classic" ----) to MOJO ("devastatingly bleak… upliftingly beautiful" ----) to Uncut (8/10), with BBC 6 Music play from Cerys Matthews, Cillian Murphy, Lauren Laverne, Radcliffe and Maconie and Gideon Coe — and Steve Lamacq calling single "Taxi" "one of those records that makes you immediately stop what you're doing." He went on to even greater success with the 2023 Northern Irish Music Prize winning third LP, An Endless Sequence of Dead Zeroes, which was recorded at SpaceBomb Studios in Virginia with musician and producer Matthew E White. For his fourth LP, Looking For Love, he has signed with Fika Recordings and with a tour approaching in November, 2026 looks set to be a seminal year for the Irish artist.

British electronic music pioneer Dave Angel returns to R&S Records with “A Time And Place”, his first full-length album release for the seminal Belgian label. Arriving thirty-five years after Dave first joined the R&S family, the album reunites one of UK techno's defining voices with the imprint that helped launch his career, renewing one of electronic music's most enduring creative partnerships.



That relationship began in 1991, when R&S founder Renaat Vandepapeliere discovered Angel's ‘Rolling Thunder’ project and invited the young London producer to Belgium. Personally welcoming him into the R&S family alongside a new generation of forward-thinking electronic artists, Vandepapeliere released the landmark “1st Voyage” EP, helping establish Dave Angel as one of British techno's most distinctive new voices. A succession of acclaimed releases followed, including “Stairway To Heaven”, “3rd Voyage”, appearances on the influential “In Order To Dance’” compilation series, and releases on sister imprint Apollo, charting an artistic partnership that helped shape both Angel's career and the wider evolution of UK techno.



Three and a half decades later, “A Time And Place” feels less like a return than the continuation of a conversation left unfinished. Rather than revisiting former achievements, the album reflects the perspective of an artist whose creative journey has continued to evolve. Reconnecting with the label that first championed his work, Angel delivers his most personal and musically expansive statement to date.



Across fifteen compositions, “A Time And Place” reaches beyond the conventions of techno to reveal the full breadth of Angel's musical identity. Drawing on jazz, soul, improvisation and richly textured electronic production, the album balances rhythmic precision with warmth, melody and emotional depth. Reflections on family, heritage, nature and the communities that have shaped his life sit alongside broader observations of the world around him, creating a body of work that feels both intimate and expansive.



That openness is reflected in a carefully chosen cast of collaborators. Celebrated trumpeter Steve Waterman features on both “Réflexion” and “The Yellow Butterfly”, bringing a lyrical, Miles Davis-inspired voice to the album after first catching Angel's attention through his work on Paul Hazel's “Out Of This World”. Elsewhere, legendary Chicago vocalist Robert Owens appears on “Harmony Serenade”, while guitarist Merv Carswell and vocalist Aurii Sky (Dave’s daughter, adding a poignant family connection) add further colour and texture to a record rooted in musicianship and shared expression.



While Dave Angel's influence on British electronic music has long been established, “A Time And Place” reveals another dimension of an artist whose foundations were laid long before techno. Raised in a household immersed in live music and jazz culture, Angel has spent a lifetime absorbing sounds beyond the club, allowing those influences to surface naturally throughout a career defined by curiosity rather than convention.



For R&S Records, the album renews a relationship that stretches back to the label's formative years. For Dave Angel, it reflects both the path travelled and the road ahead. Thirty-five years after “1st Voyage” first announced his arrival, “A Time And Place” reunites artist and label with the same forward-looking spirit that brought them together in 1991, proof that the strongest creative partnerships continue to evolve.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Balvanera is the project of Agustina Vizcarra and Lucas Palavecino from Buenos Aires, Argentina.

Since 2016, the duo has been building a sonic narrative that moves between the corporeal and the spectral, exploring waves and minimal synth as well as more intense and rhythmic directions closer to Body music, all while sharing the stage with artists such as Clan of Xymox, Boy Harsher, Die Selektion, Kontravoid, NNHMN and Ashcode.

New album Hasta tocar el fondo vacío del lenguaje arrives as an attempt to push expression to the limit, focused on language and sound as expressive forms.
With all tracks sung in Spanish, the album is a declaration of identity and at the same time an exercise with Spanish itself: how to play with a language that sometimes feels baroque and turn it into something stark while retaining its richness. Musically direct, the album occasionally returns to some minimalism reminiscent of the band’s early releases while preserving the intensity and club-oriented feel of their later work. At times intensifying in speed, the record brings the energy of their live performances to visibility, while other tracks feel like an unsettlingly dreamlike atmosphere. The title – meaning Until Touching the Empty Bottom of Language – borrowed from a fragment of Arturo Carrera’s poem Escrito con un nictógrafo, offers a clue to Balvanera’s nocturnal sensibility: those thoughts and images that can only emerge in the sleepless hours of the night, when they reach their most revealing edge.

Hasta tocar el fondo vacío del lenguajen explores death as something hidden within language while allowing each track to find its own form rather than adhering to genre conventions.

Split released with DKA. Out October 1st, 2026 on aquamarine vinyl LP limited to 500 with lyrics insert.

For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.

The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.

A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.

– INCOGNITO

There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.

The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.

Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.

Plush shag carpeting, jazz flutes, analogue synths, funk grooves, exotica, and sultry, Italian-style vocalising: Erotica 70 is the new album from Larry Manteca, known for their inventive, tongue-in-cheek reimaginings of classic Italian soundtrack aesthetics.

This time around, the Milanese collective sets its sights on the distinct sonic landscape of 1970s commedia sexy—a film genre that, for better or worse, defined an era and fed richly into the cinematic education of Larry Manteca’s members.

Through this lens, Erotica 70 also becomes a way of celebrating Piero Umiliani in his centenary year—a composer whose name is closely linked to the erotic comedies of the time.

The nod to Umiliani is baked right into the details, starting with the choice of vintage gear like the Eminent synth and the Wurlitzer electric piano. These instruments deliver that particular blend of jazz, groove, electronics, and sensual charm that made the golden age of Italian film music so unique.

Standout track “Lando” is a joyful, playful homage to actor Lando Buzzanca, who starred in numerous films scored by Umiliani, including the iconic 1973 comedy La schiava io ce l’ho e tu no (My Darling Slave).

Larry Manteca is spearheaded by multi-instrumentalists Alessandro Paiola and Riccardo Danieli, flanked by the cinematic flute of Carlo Pelsa, the swinging drums of Andrea Quattrini, and the magnetic vocals of Valentina Castelli and Alessandra Maria Manzoni.

Recorded across various studios in Northern Italy, Erotica 70 is the imaginary soundtrack to an Italy that no longer exists, recreating its atmosphere while rendering it in full, vivid colour. It’s a record whose music seems to come straight out of a provincial cinema, a smoky late-night club, or a long-lost 70s film. But while it looks back to a bygone era, it does so only to bring it straight into the present, making the past sound surprisingly fresh and contemporary.

On its latest album »Music For Air«, the Berlin-based interdisciplinary duo Gamut Inc explores new possibilities of the computer-controlled pipe organ — from hypervirtuoso excess to nuanced automation and rhythms beyond the fixed grid. Composed and recorded during a two-week residency in Toulouse, the pieces move between harmony and noise, conjuring a euphorically intoxicating maelstrom of overlapping, accelerating sound.

Gamut Inc’s work with the computer-controlled organ actually began in 2009 with a commission from ON – Neue Musik Köln for the Kunst-Station Sankt Peter — at a time when few congregations were ready to open their instruments to this kind of work. When the duo of Marion Wörle and Maciej Śledziecki officially founded the ensemble in 2013 as an interdisciplinary project, they first developed their own music machines with instrument builder Gerhard Kern, returning to the organ in 2018 when more churches and venues had opened their doors … and Gamut Inc carried their practice across Europe and beyond, developing AGGREGATE (first a concert series and then an annual festival) into a platform dedicated to organ music of the 21st century.

Sharpening a critique of mechanisation, digitality, and the human in between, the project is conceived around the construction of pre-modern instruments and the control of these instruments by contemporary technologies, resulting in an aesthetic that bridges the very old and the very new. Recent works include the human-machine trilogy »Over The Edge Club« (2021), »Rossum’s Universal Robots« (2022), and »Zeroth Law« (2023, performed at Deutsche Oper Berlin with the RIAS Chamber Choir and the Logos Robot Orchestra), and »Black Square« (2025), a wind-dynamic modular organ built by Tony Decap, inaugurated at CTM Festival and broadcast on Deutschlandfunk Kultur and SWR Kultur. Their organ installation AGGREGAT#10, commissioned by Sónar Festival, was acquired for the permanent collection of Palau Güell Barcelona in 2022.

Gamut Inc’s latest album »Music For Air« was composed and recorded during a two-week residency in Toulouse on the wind-dynamic organ »L’Explorateur«, with individually computer-controlled wind pressure per pipe. The seven pieces move between harmony and noise, conjuring a euphorically intoxicating maelstrom of overlapping, accelerating sound and again exploring new possibilities of the computer-controlled pipe organ — from hypervirtuoso excess to nuanced automation and rhythms beyond the fixed grid. Sensual and ecstatic.

To kick off our 5th year party celebrations the label begins its new set of releases starting with the joined forces of Regal86 and IMOGEN. The artists contribute two tracks each to the four track vinyl alongside remixes of each other's work, meeting at sonic crossroads.

The EP journeys through rave nostalgia filled with warmth and hope for the future, recollecting some favourite memories of the dance floor.

The A side is fast, driving with a sense of longing for the Halcyon Days and the offline times of partying when things felt easier. The release opens with ‘One Night In 1992’, IMOGEN’s nostalgic ode to an earlier rave era, built around a vocal recollection of her mother’s experiences on the dancefloor in the 90’s. Raw, hazy and deeply personal, it sets the tone for a record rooted in memory while remaining firmly in the present. Regal86 follows with ‘Rush’, bringing a different energy to the record. Driven by rolling rhythms, playful movement and a strong sense of groove.

The B side takes a more optimistic turn looking into the future with dubby aquatic pads and euphoric breakdowns, carrying a feeling of forward motion. There is a lightness to the tracks, a sense of joy running beneath NC Station and keeping the momentum locked whilst turning inwards on the final track, IMOGEN’s ‘Midnight At Bret’ rounds out a release that moves naturally between nostalgia, propulsion and the shared language of the dance floor.

As the next release launches, IMOGEN takes wigs on tour for a five year special run of shows starting on release at Tresor for a two club take over following with further cities: London, Milan, Dublin and more.

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

Artlab continues the celebration of its 10th anniversary with the highly anticipated second installment of its commemorative vinyl series. Building on the momentum of the inaugural release, this follow-up collection further cements the cultural center’s status as a beacon for cutting-edge sound, bringing together a refined selection of artists who perfectly embody the club’s forward-thinking electronic spirit.

The journey begins on the A-Side with the legendary Voigtmann, who steps up to deliver "Casual," an electro-tinged, hypnotic bomer designed to lock the dancefloor into a steady, driving trance. Following this peak-time intensity, Mateo Dufour—undoubtedly a man of the moment—takes the reins with "Space Child." Infused with classy, mysterious house vibes, the track offers a sophisticated sonic texture that bridges the gap between deep atmosphere and rhythmic precision.

Turning the record over, Franco Cinelli commands the B1 slot with "Ecos Perdidos." A master of his craft, Cinelli presents a dub-infused, hypnotic number that explores deep, resonant soundscapes, perfectly showcasing the label’s commitment to underground innovation. To close out this second anniversary chapter, Revivis brings us "L.T.F.U." A classy, driving production that captures an infectious energy, making it an essential anthem for the summer season and beyond.

With this second installment, Artlab reaffirms its dedication to its multidisciplinary roots, providing a diverse yet cohesive listening experience that continues to define the next decade of its artistic journey.

2026 Repress

The voraciously prolific Brit producer Four Tet returns to his untypeable-but-highly-listenable windings alias for this surprise new album on his own Text label. Remaining as a vinyl-only LP for now, and currently limited to 2000 copies, it was announced just a week or so ahead of the release. No track titles or details and a bucket load of vibes and strange ideas. Opening softly with gentle eastern instrumentation, he gradually pulls us deeper and deeper into his unique universe with every bendy frequency and strange accent. By the time we're three tracks in, we're bopping away to big bodied dubstep/garage mutations laced with chimes and all kinds of textures that only Keiran Hebden would choose to use. The B-side bares a similar varied, opened-hearted soul as we move from bumping club grooves to slo-mo ethereal shuffles that wouldn't sound out of place in a cathedral. Textbook Text. Grab this if you can, it won't hang around

Back from ‘96 — Abacus’ legendary The Abacus EP returns, now reissued as Erotic Illusions. Deep, soulful and hypnotic house at its finest, straight from the Guidance era. Pure timeless heat — grab it before it vanishes again.


DJ Feedbacks :

Laurent Garnier : Classic <3 <3
Nick Hoppner : OOOOOH YES
Dan Beaumont (Chapter 10 / NTS) : Decadent dub for me! lovely
Louise Chen (NTS) : Huge fan, this is a wonderfully sexy reissue!
Joel Martin (Quiet Village) : Timeless Classic from one of the masters - Essential!
Kölsch (IPSO / Kompakt) : Still sounds so fresh
Sven von Thuelen (SVT / Work Them) : Sublime!
Josh Wink (Ovum) : Sounds just as great as when it first came out!
Satoshi Tomiie (Abstract Architecture) : Soooo good! Every details tuned precisely
Carista : sickkkk
Crackazat (Freerange / Local Talk) : yes. of course
Anthony Collins (Frank & Tony / Scissor & Thread) : fantastic record
Hunee (Rush Hour) : classic!
Call Super (Houndstooth) : lovely thxxx
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Radio Slave (Rekids) : Such a big fan !!! Full support and congrats on the re-release. Peeps need to know about "Abacus".
Ben Sims : Now downloading... will check asap!
nd_baumecker (Ostgut Ton) : YAAAAAS! Finally I have this in a better quality than my vinyl rip from the original 12". Vinyl is preordered. Thanks!
Jonnie Wilkes (Optimo) : SEMINAL.
Lawrence (Dial) : OMG Fave Classic!
Fouk (House of Disco / Razor N Tape / Room With A View / Heist) : Ooooh yes! <3
Hector Romero (Def Mix) : Love it. H
Aleqs Notal : Lovely repress
Alinka (Twirl / Classic / Crosstown Rebels / Batty Bass) : Beautiful tracks
Terry Farley : fantastic reissue for those that missed the golden era
Ian Pooley (Pooledmusic) : Sooooooooo good !
Marcia Carr : The Dub without a lot less of the sleazy vocal is cool.
Nick Holder : FIRE
DJ Bone (FURTHER) : Poetic Illusions and Decadent Dub both work for me.
Nat Wendell (Depth of My Soul / Courtesy of Balance / Love & Loops) : classy!!
Luke Solomon (Classic / Freaks / Music For Freaks) : absolute classic Kenny Hawkes special xxx
ROD / Benny Rodrigues : !!!!
Domenic Cappello (Subclub) : still sounds fresh
Alexkid (Rawax / FUSE / NG Trax) : Total Dopeness
Jimpster (Freerange) : An absolute classic from the golden era! Got the vinyl but I'm sure these new masters will sound better than my well worn vinyl rip! Will keep on banging this beauty.
Bake (All Caps / Rinse FM) : the best! thank you for reissuing :)
Dj Deep (Deeply Rooted) : Nice to see this beautiful release available again
Kai Alce (Real Soon) : CLASSIK!!
Mr. V (Sole Channel / Strictly Rhythm / Salter / Defected) : Solid work on this classic Thanks
Baby Rollen (Holding Hands / Slump / Futureboogie) : timeless
DJ Gregory (Point G / Faya Combo) : Alwayes loved that classic
Tom Esselle (YAM / Rhythm Section / WOLF Music) : Killer reissue!
Harri (Sub Club) : nice, will play and support
Hifi Sean (Defected / Plastique) : Diggin' this dub big time
Jenifa Mayanja (Bumako Recordings) : This reissue sounds just as good second time around. Straight dance floor magic. Moody and dubby perfect to zone out to in a dark corner somewhere.
Demuja (MUJA / Let's Play House / Madhouse / Freerange) : nice!!
Marcel Dettmann : thx
Kosh (Syncrophone) : doesnt get any better than this
Dj Hutch (Ambers / Rinse FM) : Lovely deep business! Thank you!
Geir Aspenes (G-Ha / Sunkissed) : Kool, thanks
D'Julz (Bass Culture) : classic alert!