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Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman -- a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap's first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another. With an endearing call back to the humble Walkman, he selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise -- just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap's sound and offering unpredictability at every turn. 'Arp Amp Chasm' opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while 'Ctrssalms17 (Cold Render)' journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. 'Modern Birds (Origin Edit)' reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of 'Drift Vector' to 'Osc Hop (Slow Collapse)'s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience. With his return to the album format, Paap's message is clear --put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Karman Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape.

The moods of the album are varied yet share a sense of reverence and exploration. On Karmen Cantala and All Is Chip’s flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. Low Orbit takes things in a funkier direction, arrangements with Steve Parry’s horn (including the unusual instrumentation of bassoon, French horn and tuba) channelling 1970s Quincy Jones and the loping swagger of Archie Shepp’s Mama Too Tight. The Celestial Matari and Molecules recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane’s masterpiece The Elements, and Earthly Elements gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef’s Psychicemotus and Roland Kirk’s Blacknuss.

Joe Rolét joins Subtil Records with Get The Frequencies EP.

Get The Frequencies EP contains four stripped-back, heavy-hitting tools built for dark rooms and deep sessions. Sub-bass pressure, dark spaced-out tones and hypnotic movements — no filler, just a functional minimal techno vinyl for DJs who get it.

These tracks were custom built for Subtil Records, aligning closely with the label’s vision of underground, uncompromising music designed for long nights with serious selectors.

A guitar stands alone in Wedding, that metropolitan biotope in the western center of Berlin, caught in constant transformation between idyll and abyss. It lets its gaze wander, unsettled, almost shy, until it encounters a trumpet, with which it begins a cautious, then ever more intimate pas de deux.
Welcome to the second studio album by the Berlin-based band Conic Rose.
The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because Wedding also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope - unfold in every single song on Wedding.
For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark.The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to our time. Something lurks in the background, omnipresent yet still unnameable. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete. The seed only begins to grow in the listener's ear. With every listen and the echo it leaves behind in memory, the studio bud continues to bloom. The album is merely the point of departure. What ultimately matters is what it sets in motion within those who encounter it.

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

SACRIVERSUM were formed in 1992 in Łódź (Poland), playing old school Death Metal with progressive elements and atmospheric sounds, making their complex mixture special and unique. Their debut album „The Shadow Of The Golden Fire“ was released in 1994, at a time when a lot of Death Metal bands started to push their boundaries and became more experimental. Their music was a perfect fit along with legendary bands like PESTILENCE, DEATH, GOREFEST & ATHEIST. And this counts for SACRIVERSUM and their upcoming new album „Before The Birth Of Light“ even more. „Before The Birth Of Light“ will be released on May 8th, by their new label FIREFLASH RECORDS (HOLY MOSES, WOLF, RUTHLESS a.o.) and is available on CD, limited vinyl and digital. The album stands for raw Death Metal, with those incomparable Hammond organs. Death meets Deep Purple. Their sound is a mixture of the above mentioned acts and is not too far apart from the latest BLOOD INCANTATION album. Both combine tradition with fiction. You have to hear and experience this Death Metal gem. Since 2022, SACRIVERSUM are back and continue, where they ended up with their debut album. Those nine new tracks on „Before The Birth Of Light“ are possibly the best songs SACRIVERSUM ever composed – once you got into it, they don’t let you go. It is a dark ride into another dimension, another time and another space. You are captured in their own world, in a time before the birth of light.

Deaf Florists, the alias of Conor Wheeler, returns with a powerful new EP on trUst Recordings, the imprint founded by Saoirse. A key figure in the pre-social media UK techno and bass underground, Wheeler first made his mark in the early 2010s with his label Nineteen89, operating alongside the era that birthed influential collectives such as Night Slugs, Swamp81 and Hessle Audio.

After years spent navigating the industry—managing artists, overseeing A&R for major labels, and curating club nights at some of the UK’s most respected venues—Wheeler channels 17 years of deep listening and lived experience into Deaf Florists. The project moves fluidly between peak-time intensity and introspective depth, unbound by strict genre lines.

Lead track “Squelch, already a highly ID’d fixture in Saoirse’s DJ sets, is built around a corrosive acid line from a Roland TB-03, reinforced by a Behringer Crave counter bass and a pitched-down vocal command to “get down.” “Melt” detonates with industrial force, inspired by the chaos of a reactor in meltdown—earning Saoirse’s succinct verdict: “It’s a bomb.” Closing cut “Gunk” nods to the hypnotic repetition of Mr G, transforming a stripped-back DJ tool into a distorted techno workout primed for dark rooms.

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

This is a highly limited pressing, please order your desired quantity and we’ll see what we can supply.

We are pleased to be back with the talented Groof, the experienced producer from Madrid’s legendary electronic music scene, who is responsible for our eighth release and his debut on Kontralamakina.

We welcome you to “Simulation.” This EP/LP consists of a collection of 5 tracks that explore repetition and dynamism, with structures generated by various noise sources and algorithmic sequencing with a raw and forceful sound. It consists of excellently stomping techno rawness exercises.

Plus 1 remix by the techno legend Oscar Mulero Remix; Outstanding mind bending tools, Expertly careful Drone treatments, Stunning, deep, atmospheric but energetic Techno voyage.

3rd full length album fron the UK's heaviest band. This is an accolade not thrown around lightly. BOUND IN FEAR have been crafting their sound over the years, honing it into an undisputed heavyweight bomber. 'A MIND TOO SICK TO HEAL is a hellish journey into the darkest side of the human mind, Smashing out of the gates with 'SENTENCED' & 'CHASM', the first stand alone singles to be lifted from the forthcoming album, BIF roar a statement of intent that ups the heat ever so slightly from their usual downtempo delivery, before returning to the familiar crushing slabs of concrete the band are revered for. 'THREE KNEE DEEP' & 'DARKNESS REDEFINED' follow as the spotlight cuts for what is unquestionable one of the heaviest albums to ever emerge out of the United Kingdom.

Repress 2026

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

The next of Toolroom’s 4 track vinyl sampler series kicks off with a bang(er!). Welcoming CHANEY back onto the label with possible his finest release to date in the shape of ‘I Choose You’. On Toolroom alone he has amassed over 40m streams across leading streaming stores in just 3 years and can add massive imprints like Defected, Insomniac and Perfect Havoc to his list of musical successes. Everything in this record is 100% original and written by CHANEY himself from the self-played bass line, lush rhodes chords and distinctive, poignant vocals.

Next up is Gene Farris who has been a mainstay on Toolroom in recent years and is a regular artist at our label events all over the World. ‘In My Heart’ lands as an exciting collab with the Basura Boyz, a duo also hailing from Gene’s hometown of Chicago and the chemistry between the 3 of them is evident from the first beat! A super cool, stripped back vocal tech house track that sits in that sweet spot of club and specialist radio.

Kicking off the B-side is Deeper Purpose who returns to Toolroom alongside Jalja & Lazy Joe, after his debut club weapon ‘Stutter’ dropped on the label last year. He has had success across all the scene’s leading imprints over the past 12 months including Fisher’s Catch n Release, Experts Only and Repopulate Mars and this record is an anthem in the making! Jalja is on vocal duties, the vocalist that shot to fame after her huge ‘Hanging Tree’ record alongside Michael Bibi. She adds her trademark ethereal vibe to the record and delivers a typically killer hook - This is a real EAR WORM!!

Wrapping things up on Sampler 14 is a very exciting collaboration from 2 of the scene’s brightest shining new stars; Tony Romera and Crusy. Having been die-hard Toolroom fans for many years, this record came about during a conversation about old Toolroom records, and how they collectively wanted to emulate that slightly progressive tech house but bring it right up to date. And they have certainly done that! A real peak-time dance floor moment here with insane production and a unique, intense build up that is already causing maximum mayhem!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong

Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

With Coalescence, The Third Room brings together artists from distinct yet interconnected techno lineages, united by a shared understanding of the music as both physical and introspective. Rather than staging contrasts, the EP focuses on convergence, where propulsion, atmosphere and restraint fold into a coherent whole. Rene Wise & Ignez open the release with Anjos, pairing Wise's tactile, percussive pressure with Ignez's expansive, oceanic pads. The result sits at the intersection of functional drive and elevated, almost devotional space, reflecting a new generation's approach to techno as both tool and inner landscape. Norbak's remix draws the track further inward, deepening its hypnotic pull and extending its energy into a more meditative, slow-burning form. On the B-side, Claudio PRC & Luigi Tozzi present Onirica, a deeply restrained and immersive composition rooted in atmosphere, spatial detail and subtle psychedelia. Unfolding with patience, it rewards attentive listening and long-form dancefloor contexts. Markus Suckut closes the EP by reducing Onirica to its bare essentials, applying his signature economy and precision to heighten tension and focus. Coalescence reflects The Third Room's vision of techno as a shared terrain, where different voices and generations meet, align and quietly reinforce one another.

With RAUF001, Rauform Records steps out of the gate with a clean, floor-focused statement from label owner Markus Homm: The Cross, a 12" built for late-room pressure, long blends, and sound systems that love detail.
Homm’s writing here is all about restraint and intent: deep house warmth shaped by minimal discipline, tight drum architecture, and dub-leaning space that breathes without ever losing momentum.
Pressed on black vinyl and made for selectors who value depth over drama, The Cross marks a confident first chapter: timeless tools, finely engineered, quietly powerful.

For if their first album ALLOMBON could be seen as the opening of a secret passage, this second record, FLOWERS TOO, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized they keep digging. And deeper still. Esoteric pop the noblest, the most dangerous kind is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling.