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DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.

This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's Silence & Wisdom' and 1983's Double Happiness'. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they're a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing.

"Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)

A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.

“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.

With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.

DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1

2026 Repress

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.

Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!

On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.

Rebirth deliver another fantastic selection.
Limited Press, act fast.

Club Splendore was born in 2022 in Modena, Italy, as an itinerant party and club format.

In just a few years, it has established itself as one of the most recognizable disco-oriented projects within the new Italian nightlife scene, exporting its sonic and visual identity to iconic clubs and international settings.

With over 20 dates in a single year, recurring sold-outs and a diverse crowd, Club Splendore has evolved into an experience that goes beyond the dancefloor: an inclusive, label-free space where music, style and attitude coexist under red lights and immersive atmospheres. The format has appeared in some of the most relevant venues across Europe, including Villa Delle Rose (Riccione), Palazzina Grassi (Venice), Matis Club (Bologna), Hierbas Club (Cortina), while also expanding internationally with dates at Do Not Disturb – W Hotel Amsterdam, COYA Mykonos, and House Party London, confirming the project’s ability to connect with an international audience. From the club to the record.

Club Splendore Vol.1 is the project’s first official vinyl release and marks a natural step forward: capturing on physical format the sound that has been defining its dancefloors over the past years. The record explores a contemporary take on Italo Disco, infused with classic disco, funk and modern house elements, delivered with an ironic, sensual and direct approach. A sound that reinterprets the aesthetics of the ’80s without nostalgia, translating them into a current, club-focused language. Behind the production and on the decks: Sparkling Attitude, Nicola Zucchi and Matteo Mussoni, resident DJs of the format and the core musical force behind Club Splendore.

Side A features “Drink Campari”, an italo disco track built around warm, enveloping textures, elastic basslines, bright synths and a late-night groove. A story of summer desire and endless nights, playing with the iconography of Italian Red Passion in a light, effortless way.

Side B hosts “Madame”, a bonus track and electronic ballad with a more intimate, suspended mood. A track designed for the final hours of the night, when the club slows down and the dancefloor gives way to something more personal.

Club Splendore Vol.1 is not a compilation, but a statement of intent. A first chapter that brings the club experience beyond the club itself, staying true to the promise that has defined the project from the very beginning: “We will bring the light into the darkness of the night.

2026 Repress

Following our acclaimed Chez Damier release, Skylax proudly welcomes back the brilliant Byron The Aquarius. A true craftsman from Alabama, Byron blends the spirit of Detroit's deep house with live jazz energy, echoing legends like Theo Parrish and Moodymann. This new EP, Afrofuturism, is a statement of intent: four deeply musical tracks rooted in soulful rhythm and cosmic funk. From the spiritual groove of the title track to the introspective dub of Sunday’s Ain’t The Same, this is Byron in top form — keys blazing, grooves flowing. With past releases on Sound Signature, Axis, Eglo, Apron, and Shall Not Fade, Byron’s music continues to light up the underground from Detroit to Berlin. Artwork by H5 – the legendary studio behind visuals for Daft Punk, Air, and Vitalic. Whether you’re a house head or jazz lover, Afrofuturism is a timeless piece for real dancers and dreamers. Strictly for the heads. Vinyl only. No repress. Skylax Records.

DGM & Panegyric proudly present…

One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.

This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.

There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.

As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.

David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.

Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.

Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.

(Limited Edition 12" Silver Vinyl, 500 Individually Numbered Copies Worldwide) To mark an exceptional milestone, the legendary DJ and producer Phi Phi celebrates 40 years behind the decks with the launch of his brand-new label Mouvement Perpétuel and its inaugural release, the Forty EP, available in both vinyl and digital formats.

Early support from Forty Cats (Balance), Graziano Raffa (Sudbeat), Acid Pauli, and many more.

A true pioneer and iconic figure of the electronic music scene, Phi Phi has shaped generations of clubbers through his legendary residencies at At The Villa, Boccaccio Life, and Extreme, to name just a few. Throughout his career, he has deeply influenced the evolution of trance and progressive culture in Belgium, crafting a distinctive sound and spirit that continue to inspire today’s artists.

The Forty EP captures the very essence of this musical journey: three original tracks blending progressive house and melodic techno, where captivating harmonies and hypnotic rhythms intertwine to deliver a sound that is both timeless, powerful, and refined.

Pressed on a silver vinyl limited to 500 individually numbered copies, the record was unveiled during a special event celebrating Phi Phi’s 40-year career — making each copy not only a true collector’s item, but also a symbolic piece of his enduring musical legacy.

dungeon acid review 25-09-03 by Joakim Cosmo A acid house style EP by swedish acid techno pioneer on swedens oldest underground label? Making a acid house EP in 2025 that makes a difference is a challenging task but this one just nails it. Here you see a softer and more musical side of Dungeon Acid in the shape of 5 dark yet hopeful Acid House tracks. Despite the classic form and ingredients it somehow avoids feeling retro but I guess this is what happens when you let a true grand master do it combined with a selector and label boss beyond the ordinary. It's like a paralell universe version of what Acid House could have become, and its a beautiful vision. A1-101-303 starts off with a dreamy, moody dubby and slightly romantic track that is just utterly beautiful in all its simplicity. The elegance and easy touch strikes me instantly. Nails the essence of the genre. One more like this and im buying it. The way A2-Unlock rewind builds up gives me goosebumps. So hypnotic and dark and experimental and the way it progresses to the ravey chord-break. The sounds and effects and details feel so alive and on the fly. In the record store this is where id already go "ok, im having this one" B1-Lonely Acid boy is yet another simple yet super atmospheric track. The contrasts between the rough robotic parts and the jazzy live solos ontop just gets to me. The roughness in the mix, that second beat with the hi-hats and extra bass, the fact that its so loud and sudden, is just great. And then we get to B2-Shnukki and all of a sudden, a romantic melodious electro track with a asian touch and acid bassline, that somehow goes well together with the other tracks. This one isnt my favourite or what I would buy the record for, but it would probably be the one I discover years later. Typical Borft Records to think that far ahead. The EP ends with B3-Chiliflex BB come on and this one starts with more late 80's ravey chords but the further you get into the track the more disharmonic, tweaky and punky it becomes. Things dont really fit together yet they do. To sum it up, these tracks are raw, funky, gutsy, streety, visionary, full of contrast and a bit challenging, just like acid house should be, but often isnt. I think Dungeon Acid and Borft Records nails it here. I'd buy doubles of this.

With this new album, s8jfou resolutely turns toward the club scene and dancefloors, while preserving his unique signature: sharp technique, a subtle and playful approach combined with formidable efficiency. He also infuses a touch of nostalgia, giving the whole work a certain depth.

This is yet another demonstration of his ability to evolve while staying true to what makes him a singular and essential figure in the electronic music scene. Drawing inspiration from memory, s8jfou uses it as the guiding thread of this album, aiming to create a pictorial and visual atmosphere, punctuated by shifts in mood, as if the listener could 'zap' through their memories and make this soundtrack their own.

Through this approach, the artist seeks to evoke an intimate connection, allowing each listener to explore their own memories.

The album will be available in a limited edition, accompanied by a MIDI controller designed and crafted by s8jfou.

A trans-generational meeting of raw frequencies and spiritual drive, BTB007 bridges the roots of freetekno. On the A-side, 69db a true pioneer of the underground, delivers two live-crafted pieces that channel decades of improvisation and sound system energy. One track, reflects on the ongoing genocide in Palestine; the other turns its gaze toward the performative side of modern culture. Flipping the record, Gen Unit, the collaborative project of Kaisei Kitada and Scam Artist, respond with two dense compositions forged in the spirit of old-school freetekno: raw, hypnotic, and relentlessly physical. Together, they form a dialogue across generations and geographies, between chaos and control, analog heat and digital clarity, perfectly embodying the spirit of Beyond the Bridge.

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)

Some records are answers to questions no one asked out loud. With Where is Acid Eric, Cornelius Doctor & Tushen Raï deliver a psychedelic missive from a parallel timeline — a time-traveling tribute to Goa’s golden age, filtered through their unmistakable signature.

Returning to their home base, Hard Fist, the duo steps into new territory with this release, and yet, it feels like they’ve been heading here all along. This isn’t a retro-fetishist trip, nor a copy-paste homage. It’s a reimagination of a sound, a space, and most of all, a spirit.

The EP is rooted in the mythic nights of late-80s and early-90s Disco Valley, where British acid house collided with Indian hedonism, where freedom wasn’t a pose but a necessity, and where dancefloors became temporary utopias. But in the hands of Cornelius Doctor & Tushen Raï, this past gets warped, stretched and reanimated with 2025’s tools and sensitivities.

Across three extended tracks, the duo summons a sound that’s dense yet breathable, tribal yet precise, nostalgic yet futuristic.

They weave Goa’s swirling trance lines with broken rhythms, analog squelches, and post-industrial textures. The acid lines are sharp, but never cliché — more mantra than gimmick. Voices float in and out like half-remembered chants. Basslines slide, hypnotize, and then vanish in a cloud of smoke. It’s not a flashback. It’s a vision.

The title, Where is Acid Eric, feels like a lost broadcast — part question, part invocation. Eric is a symbol. IS Eric a ghost ? The true legend of a forgotten raver on a dusty Anjuna morning. What matters is the search. The longing. The dance.

Hard Fist, true to its form, continues to blur the lines between ritual and rave, tradition and invention. And with this record, Cornelius Doctor & Tushen Raï don’t just revive a genre — they reconnect with an ideal: dance music as exploration, as transcendence, as resistance.

One foot in the dust, one foot in the cosmos. The answer isn’t important. The trip is.

DOUBLE VINYL ALBUM RELEASE

Kraak & Smaak Announce New Album Velvet Seas.

Dutch electronic pioneers Kraak & Smaak return with their highly anticipated seventh studio

album, Velvet Seas. Penned and produced between their hometown of Leiden and the sun-

drenched sprawl of Los Angeles, the album channels a rich seam of West Coast psychedelia,

deep funk roots, and that unmistakable K&S groove, all wrapped in shimmering synths and

electronic soul.

The record captures the essence of the band's genre-defying journey, blending radiant nostalgia

with forward-thinking production. True to form, the Dutch trio have enlisted an eclectic roll-call of

collaborators: from the dreamy stylings of Kosta G (formerly known as PWNT and memebr of Rio Kosta) and Butter Bath to the powerhouse

vocals of Izo FitzRoy, plus contributions from The Undercover Dream Lovers, Kainalu, Iogi, and

longtime live partners IVAR and Berenice van Leer.

With hundreds of millions of streams under their belt and a legacy as industry tastemakers, Kraak

& Smaak are set to take Velvet Seas to the global stage, with a world tour slated for next year.

Charlotte de Witte releases more hot news on her eagerly awaited eponymous self-titled debut LP, which drops November 7th on her KNTXT label. Fans already stirred to frenzy by two killer LP singles can now pre-order/pre-save the album digitally and on vinyl. She also reveals the cover art and track list in its entirety.

Already hailed by Vogue DE, BBC 6 Music, Resident Advisor, DJ Mag, Mixmag, Rolling Stone, Billboard amm., the acid-drenched, unstoppable lead single and set staple ‘The Realm’, and powerful organ-heavy cut ‘No Division’ (feat. XSALT) reflect the power of the full 11 track release. The ‘No Division’ vinyl was pre-released during her recent six instantly sold-out New York City shows in four days triumph. With one more LP single promised before the full drop, fans will have to wait and see which that will be…

After a fifteen year long career of propelling the techno scene forward and 25 standout EPs, the Belgian DJ & producer ‘started to feel the urge to embrace a format that allowed me to showcase my sonic identity in its entirety.’

Though the album is deeply personal – ‘these are tracks that move me, songs that carry me away like only club music and a night lost in it can’ – it’ll be a must-have for fans & techno/acid fiends. ‘Make no mistake, this is a true DJ album. I’m a club kid, always will be, and every track on this record makes me want to dance.’

It’ll do the same for other ravers. One more LP single to come… which of these is it to be?

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the first of the sample EPs of rare, cherished and formerly unreleased gems. Deep Joy of Brainiak (and Mo Wax) fame had their stunning “Fall” track remixed by lord Sabre, Andrew Weatherall himself; an often-missed indie-chug delight from the early 90’s. The Thrashing Doves and their scene stamping classic Je$u$ on the Payroll, needs very little introduction, but this Unreleased Instrumental Version, like it states, has never been on vinyl before. Flip over for another hip hop/club hybrid of a track with KC Flightt’s “Lets get Jazzy”, and its iconic sound which was remixed by the legendary Blaze; then finishing up with sunrise/sunset jamm, “Blinky Blue Eyed Sunrise”, by The Metaluna Mutant. A must for any lover of the white isle and it’s heritage.

Perhaps you've chanced upon a Number Station, unwittingly as you scour the shortwave bands, and heard a cold, disconnected voice repeating simple commands endlessly into the ether. Or maybe you've scanned past a series of bleeps and pips, or pockets of noise, thinking nothing of them, as you seek a favoured music station. These are messages, to those who know how to receive them, and are able decode them in their various forms and configurations.

Shropshire Number Stations - Recordings of Covert Shortwave Radio Stations charts the covert shortwave radio stations broadcasting silently through the air around us, to aspirant agents in the fields of Shropshire, UK and the counties which surround it. These two continuous sides include recordings of 19 such lay-stations, captured by Eric Loveland Heath at various points over the last few years. The true nature of these amateur networks may never be known, nor might their cyphers ever be revealed. These are recordings of their activities, made conceivably for the sake of posterity alone, offering a glimpse into clandestine worlds otherwise obscured from view.

For its sixth release, Rio de Janeiro’s Onda Boa label sees founder Joutro Mundo, step up once again - this time reviving and re-vibing Netinho’s independent 1980s bop, “Du Du Du Domingo”.

Netinho first made his mark in the 1960s as the drummer for Brazilian beat icons Os Incríveis, then again in the 1970s with the heavier, lysergic sounds of Casa das Máquinas. By the 1980s, he had turned toward a new vision, inspired by the spiritual group Amor e Caridade. Released on his own imprint, Manancial do Amor, 1982’s Apartamento 97 – Projeto Amor & Caridade Vol. 2 brought together heavyweights Zé Rodrix, Faísca, and Manito to expand on this funky, pop-rock chapter first introduced with 1980’s Amor & Caridade Vol. 1.

According to Netinho, a year passed in search of inspiration for the follow-up LP before he began receiving notes and poems through his medium, dictated to her by his “protector.” Following that divine intervention, the album’s songs were completed in just two days—including the standout track, “Du Du Du Domingo,” an ode to the beauty of a Sunday afternoon after the toils of the workweek.

Side A presents the original track, lovingly remastered, in all its stripped-down, idiosyncratic glory. A bubbling synth bass paired with a nimble electric bass line set the stage for the plunky synth melody that defines this anomalous yet infectious gem—before giving way to a samba break and a wafting crowd noise that instantly transports you to a sunny Sunday by the sea.

On the B-side, Joutro Mundo injects a new vitality into the track with crisp hi-hats, a thumping kick, and other subtle studio magic. The samba break is brought forward, while the electric bass line—previously bubbling beneath the surface—rises to center stage around the three-minute mark. True to form, Joutro Mundo avoids the obvious, drawing on his deep crates and production sorcery to conjure up yet another gem for the balearic heads and other lovers of left-field dancefloor deviance.

Modularz 93: UHFVHF – A Sonic Exploration of Analog and Digital Frequencies
Modularz is proud to present Modularz 93, a groundbreaking collaborative project between two heavyweights in the techno scene: Developer, the visionary producer and label head, and Stanislav Tolkachev, the Ukrainian techno ambassador known for his raw and experimental approach to sound. Their new release, UHFVHF, is a deep and immersive journey into the sonic interplay of analog and digital frequencies, a love letter to the mystique of over-the-air signals and the grey areas where the known meets the unknown. This project marks the culmination of countless hours spent in the studio in Berlin, where Developer and Stanislav have fused their unique creative processes. By blending analog hardware with cutting-edge digital techniques, the duo has crafted a sound that is both timeless and forward-thinking. The result is a series of tracks that explore rhythm and texture in their rawest form, pushing the boundaries of techno’s narrative and embracing the unfiltered power of sound. Through UHFVHF, Developer and Stanislav continue to redefine the parameters of contemporary techno, offering an uncompromising experience that speaks to both the mind and the body. This release is a testament to their dedication to the art of sound, offering a sonic landscape that pushes the boundaries of what techno can be. Modularz 93 – UHFVHF is a must-listen for anyone who seeks the raw energy and unapologetic power that defines the heart of true techno.

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

Hard Times and DJ Spen go back decades. The Baltimore house veteran has long been a fixture at the label’s parties, on the remixes, and now under his Muthafunkaz alias he cements the bond with a set that’s as much a time capsule as it is a renewal. The Muthafunking Hard Times EP revisits a clutch of Spen’s early-to-mid-2000s jams that, till now, have never been committed to wax. True to form, Spen hasn’t simply dusted them off: he’s remastered, refreshed, and imbued them with a 2025 gleam, bridging past and present in one irresistible sweep.

The A-side opens with the Funkee Kole Cappin’ Mix of 2008’s “(You Make Me Say) Woah!”, a gospel-fired stormer whose call-and-response vocals climb skyward while a cheeky Fab Four nod keeps things buoyant. “Holy Ghost” follows in its Holy Spirit incarnation, wringing church-floor catharsis from tribal percussion and sanctified chants - a blast of kinetic, almost Faya Combo-like fervor.

Flip the record and you’re hit with the swing and strut of 2010’s “Gotta Hold On Me,” Spen’s Vocal Mix turning horns and jazzy drums into a pure adrenaline surge. The closer, “Doin’ The Best I Can,” is a tonal shift: harmonica and guitar sketches circling loose-limbed beats, equal parts after-hours reverie and Sunday-morning balm.

Too vibrant, too joyous, too Spen not to press - The Muthafunking Hard Times EP isn’t just archival housekeeping. It’s an affirmation of what house music does best: uplift, electrify, and remind you that, even decades on, the spirit still moves.

After two albums inspired by vast northern landscapes, the forces of nature, and an ever-present sense of duality, Glass Museum shifts gears. The Brussels-based group-originally formed in 2016 by pianist Antoine Flipo and drummer Martin Grégoire-welcomes bassist Issam Labbene as an official third member, opening up a richer, more immersive sound and setting its sights on the rhythms of the modern city.

A true turning point in Glass Museum's career, the new album 4N4LOG CITY twists the codes of electronic music, explores the depths of jazz, and asserts its eclecticism through a fresh and infectious groove.

Signed to the forward-thinking Belgian label Sdban Records, the group shapes its identity within the vaulted ceilings of Volta, a creative hub in Brussels frequented by the vanguard of Belgium's "new scene." Sharing space with acts like ECHT!, Lander & Adriaan, and Tukan, the band continues to push its boundaries through collaboration and reinvention.

Recorded between the French countryside of Drôme, the industrial edges of Brussels, and Volta, 4N4LOG CITY features striking guest appearances. Swiss drummer Arthur Hnatek-known for his work with Tigran Hamasyan and Erik Truffaz, and praised by Gilles Peterson and Laurent Garnier-drives the opener "GATE 1" into hypnotic, krautrock-inspired territory. Meanwhile, rising vocalist JDS lends soulful grace to "Call Me Names", evoking the emotive textures and elegance of vintage soul-jazz reminiscent of the likes of Jordan Rakei or Tom Misch & Yussef Dayes.

Without abandoning their melodic roots and foundational approach, the trio takes daring steps into new terrain. The experimental centerpiece "III" explores the piano as a textural and rhythmic force, drifting between ambient and breakbeat. Elsewhere, the gritty "VAN GLAS"-a hip-hop-tinged track featuring rapper JAZZ BRAK of STIKSTOF-the band ventures far beyond their comfort zone, injecting streetwise lyricism in their mix of electronics and jazz.

Fueled by the heartbeat of the city, 4N4LOG CITY captures the mechanical ebb and flow beneath concrete towers-the anonymous rhythms of daily life moving over the asphalt, and the fleeting, meaningful connections made along the way. Produced by Antoine Flipo and mixed by Elsa Grelot (Avalanche Kaito), the album stands at the intersection of human emotion and urban architecture-a post-modern, deeply cinematic work that asserts Glass Museum's place at the cutting edge of European music.

2025 Repress

After a short hiatus Deep In Dis intl. is back in the game. This time bringing you a split EP by two young prolific producers who have been in our radar for quite sometime now, Eric OS and Lewis. With both artists being based in Sweden and each one of them with a characteristic sound, we thought it would be a good idea to split our next release between these two cutting edge talents and that's how the Timebomb EP came to life.

We first discovered Eric tunes through a Binh set last year at the Nostromo Festival and we instantly knew we had to get Eric on board for a future project with us and here we are. With releases on System Error, Eya Records and his own imprint Space Trace, Eric brings to the table all those elements that made us get up off the back stage sofa and lose it on the floor. Flipping the record we have the Data Flow head label Lewis bringing us another two special club cuts. Having released a digital EP with us before, we couldn't wait to press some of Lewis analog soundscapes.

A1. 'Eden' is a true dance floor filler , endless groove and quirky sounds penetrating your brain while taking you in a break with some dreamy pads and even stranger synth lines. A2. 'Timebomb' keeps the vibe going, even higher this time. The formula seems to be timeless. Progry melodies, wonky bassline, and solid drum patterns.B1. 'Project Mayhem' invites us to close our eyes and travel without moving with its hypnotic groove, the feeling of pleasure, energy and empathy increases and floats the dancefloor in a never ending way. Closing the EP 'Acid44' spills a lysergic groove on the floor with no possibility of escape or return. Infected synth lines, snappy snares and some serious bassline are the powerful potion of the track.

Hilit Kolet and The Illustrious Blacks team up for the ‘Transatlantic Kiki’ EP. Dropping on Rekids late August, the package is remixed by Floorplan.
London-based artist Hilit Kolet returns to Rekids, collaborating with New York’s The Illustrous Blacks, the project formed by Manchildblack and Monstah Black, for the ‘Transatlantic Kiki’ EP, landing 29th August 2025 via Radio Slave’s Rekids. Legendary father-daughter duo Floorplan remix the single, with the release following up Kolet’s 2024 ‘Snap Talk’ EP, which won support from artists like Dam Swindle, Chloé Caillet, Bradley Zero, and more.

With lyrics that connect London and New York, ‘Transatlantic Kiki’ is a tough, funk-fueled roller true to Hilit Kolet’s signature production style, infused with an unmatchable personality via The Illustrous Blacks’ playful, vogue-like vocals. It’s hypnotic, bold, and irresistible, with the pair supplying a loopy ‘First Class’ mix that introduces vocal elements not featured in the original, amplifying the track’s qualities to hit even harder, and works the dancefloor into a sweat.

Robert and Lyric Hood, known together as Floorplan, remix Hilit Kolet & The Illustrous Blacks’ ‘Transatlantic Kiki’. Equally infectious as the original, they transform its rhythm into a drummy late-night cut. Stabs and vocal chops ride the groove, culminating in a proper lose-yourself-in-the-dance House cut that also comes with an instrumental version.
London’s Hilit Kolet came up through the former Soho Black Market Records shop, and has since become synonymous with the city’s House scene via releases on Defected, Snatch!, Domino, and Rekids, with a #1 debut on Music Week’s Upfront Club Chart and support from BBC Radio 1, Jamie Jones, HAAi, Skream, and more. NYC duo The Illustrious Blacks, comprising Manchildblack and Monstah Black, blend Afro-Electro, Funk, Disco, and House across releases on Soul Clap, Classic Music Company, and Defected, as well as collaborations with artists such as Osunlade, DJ Minx, Seven Davis Jr., and David Morales.

Mysticisms returns, looking to the source, Detroit City, with the beautiful house music of Soiree Records International and their 1995 deep vocal bomb, That's How Lovers Be.

Established in 1990 by Derrick Thompson, Soiree has long focused on the deeper side of house, late night rhythms across over 70 releases. Never making a shout out about it, the label might not of garnered the kudos it deserves while laying down a tight standard of cosmic sonic delight.

Featuring in the main Thompson's own Drivetrain releases, his production skills are deployed on this one time project. Written and sung by Montaze Armstrong, alongside the smooth accompaniment of Merchon Bower, the production is ubiquitous Drivetrain. His main mix sets the scene; hats proffering swing and impetus while bass and chords underpin the vocal interplay to skyward perfection.

Once again the label conjoins a latter day contemporary and admired producer to offer their own retake and who better than the essential producer of all things deep, Nail. A huge influence on the label during the formative years of (free party) house music's ascent, his recent return has been widely welcomed. His 'mix' is full of respect and perfect pitch, adding his distinctive low-end rumble, hypnotic hats, skips, loop and shake.

To close, it's all about the legend that is Scott Grooves. Nothing more needs be said, his 9-minute ride show jazz roots worn firmly. Rhodes, claps, piano and vocal are all that's needed. Loose, funky and soulful from a true master.

Love the Mystery.

Drawn from years of early-hour sets and the quiet intimacy of the booth before the room fills, Gimme The Sun marks the debut EP of Al-Veez (real name Alvise Marino). A seasoned guitarist raised in Italy with musical roots in funk, boogie, and blues, Marino’s release is a sonic travelogue of his formative years as a selector in a city, NYC, that quietly became home. The prominent guitar captures both the ache of departure and the bright, restless hope of return.


With a wistful blend of beachy, meandering textures, lush synth layers, and a hypnotic pulse, the EP lands in time for another steamy summer in the city—sure to strike a chord with longtime NYC house heads, whether they be behind the booth or lost in the crowd. Arranged in close collaboration with TSoNYC label boss Danilo Braca (also on mixing and mastering duties), theshimmering title track reads like a Dear John letter to New York. Tender, honest, and full of gratitude, it’s the kind of farewell only a true love could inspire—one that dances forward even as it looks back.

As the record warms up, “F Train Boogie” evokes snapshots of bright midsummer mornings gazing out a scratch-blurred train car window at the glistening city, while the track that follows, “Sneaky”, sizzles with cosmic allure—an intoxicating blend of luminous synths, tightly interlaced rhythms, and a commanding kick drum that locks the listener into an entrancing groove from the very first bar. “Underwater”, the fourth and final track, shares some of the same allure and mystery, but features a playful optimism, encouraging the listener to lean into curiosity of what the next chapter, night, or DJ set will hold. 


INDEPENDENT RECORD SHOP AND LABEL KLANG TONE RECORDS RE-ISSUE DEBUT ALBUM BY 8 PIECE INSTRUMENTAL EHTIOPIAN JAZZ/AFRO-BEAT/PROG COLLECTIVE;
TEZETA

“Absolutley gorgeous from start to finish…”
- Deb Grant, BBC 6 Music

“An instant obsession. Impeccable rhythms and hypnotic melodies—Tezeta crafts a spellbinding fusion of Addis and Avon that takes you on a journey."
- Don Leisure

“Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures”
- Matt Temple, Matsuli Music


'Formed in Bristol back in2014 Tezeta were an experimental 8 piece instrumental group effortlessly combining Ethiopian jazz, Afrobeat, prog and improvisation. The band spawned out of the much loved Bloom Collective - a collective of musicians and friends from an experimental corner of the city’s buzzing music scene.

Led by composer, pianist and bandleader Daniel Inzani (Spindle Ensemble, Cosmo Sheldrake) the band also featured tenor saxophonists Andrew Neil Hayes (Run Logan Run) and Lorenzo Prati (Count Bobo, the Evil Usses, Itchigo Evil), Harriet Riley (Spindle Ensemble, Paraorchestra) on Marimba, vibraphone and percussion, Pete Gibbs (Count Bobo) on bass, Conrad Singh (Alabaster dePlume, the Evil Usses) on electric guitar and finally two(!) drummers Matthew Jones (The Brackish, Slate Trio) and Daniel Truen (Yama Warashi, The Evil Usses, Rozi Plain, Count Bobo).

They initially got together to play music from ‘The Ethiopiques Volumes’, in particular, the work of Mulatu Astatke, hence the name Tezeta (Ethiopian for nostalgia) but quickly evolved into their own style with all original material, incorporating many other influences along the way. Their much loved, debut album 'Seventh Place' was released in Sept 2016.

“We at Klang Tone have been admirers of Daniel Inzani’s work with Spindle Ensemble and I was fortunate to catch Tezeta perform before they disbanded. I bought one of the last available copies of their home released cdr at their gig at local Stroud venue The Prince Albert. It became a firm favourite - a recording I keep playing and never got tired of. It’s such a beguiling mix of styles - always evolving and resolving in different ways to what you might expect - some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist with Daniel’s evocative melodies at the centre. I was convinced this was a recording that deserved a bigger audience and felt it needed to be heard on vinyl so I started a conversation with Daniel about releasing it on Klang Tone as it perfectly encapsulated the raison d'être of the shop and label. We didn’t want this recording to languish online barely listened to - I felt it was in danger of becoming a lost classic. I hope that this vinyl release is a worthy testament to this great band and helps draw attention to the creative genius of composer Daniel Inzani and the talented ensemble of players featured on the recording.” - Sean Roe, Klang Tone Records

Tezeta had a cult following among other musicians and were known for their wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, and subsequently released an EP named ‘Curious Bubble’ in 2020.

In 2023 Tezeta performed a sold out final show at Strange Brew, Bristol as Inzani decided to pursue solo releases, notably his critically acclaimed triple vinyl album ‘Selected Worlds’ released on Hidden Notes Records which landed in the Guardian Top 10 Contemporary Albums of the Year in 20204. The third disc ‘Play’ was a clear continuation and development of the music Inzani had developed with Tezeta and featured many of the same musicians.'

The cover image is from ‘Project Rewind’, a double exposure photography collaboration between Karen Dews and Paul Blakemore.
Graphic design by Adam Hinks.

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

Good things take time, and this time they bring us a true gift: Brett Johnson, a living house legend. From his base in Austin, he delivers a special mix of two classic tracks and two new ones, all with his unmistakable sound that has moved dance floors worldwide. His timeless beats return in the most beautiful format: vinyl. A unique release to enjoy!

Daniel Monaco and John Noseda join forces for Alektra, a new project born out of a deep love for Hi-NRG and raw 808 sounds. Renowned for their dj sets, trips that delve into tropical obscurities, Chicago jack and Rimini romances, the pair have channelled a unique blend of untamed house and shimmering italo melodies into pure dancefloor euphoria. Their debut release, “Shake Your Body,” drops on Bordello A Parigi. Neon synthwork is punctured by clean punches of percussion, scaling melodies set firmly in the golden analogue era. Key stabs drive the track with Only Bee’s honeyed lyrics pushing the energy levels higher. In true 1980s anthem form, the flip is dedicated to the instrumental with the synthesizers and their hypnotic melodies taking centre stage: Alektra’s machines smouldering with fiery intensity. That same intensity closes, Only Bee’s mellifluous vocals given the limelight for the acapella close. Dancefloor definitions redefined. Welcome to Alektra.

When SW. AKA, Stefan Wust, first established SUED in 2011, their compelling, cosmic and anonymous material struck a rare chord, emanating far beyond the freeform Berlin underground in which it was written. Unknowingly, Los Angelean Oliver Bristow had
established a parallel musical universe, founding the hyper-specific label Acid Test, inviting pioneering artists such as Donato Dozzy, Tin Man and Pepe Bradock to indulge in glorious interpretations of 303 control. Without compromise, these were records that quietly
reinvigorated electronic music.
Some years later, a new label, SWOB, unites Wust and Bristow in a very different landscape. And while it would be easy to transform the purity and integrity of this special alchemy into something like nostalgia, yearning for an alternative culture before
influencers and against algorithms, SWOB endeavours to find inspiration in arguably tougher truths.
“By the mid-90s, the techno scene had already reached a breaking point”, recalls Wust.
“Today, the scene is so highly professionalized that it barely resembles what was once called the "underground. But "underground" was never more than the simple reality that music circulated on cassettes among friends or that dubplates were played at illegal
parties... The consequence of today’s professionalization is the death of the original movement.”
Still, no one can kill an idea. Here, inspired by the “Outside Tekno” or “Outkast Techno” that emerged to subvert even back in the day, SWOB are proud to introduce the tekkNOthing trilogy, a new project from SW. beginning on cassette and culminating later
on vinyl. Some years in development, tekkNOthing first began to take shape during the 2020 global pandemic, when ‘the underground’ quickly began to mean something radically different once again.
“I noticed how everything was accelerating while simultaneously spinning in circles – existing in a kind of creative limbo on a global scale”, recalls Wust. “And that’s where true freedom lies: for artists – in any sense – to consciously engage with this necessity. In
other words, irrationality or nonsense can eventually generate meaning.” While hardly capitulating to the contemporary hammering of techno’s most recent developments, tekkNOthing’s first chapter quickly establishes a frenetic pace; tracks like ‘nuclearFALLoutX’ and ‘paslolESmess’ interlock and unfold at a tempo removed from that typically associated with SW. while ‘euroBSS’ and ‘viscousHEAT’ successfully experiment with a more guttural palette, veering far into a rejuvenating and previously uncharted leftfield.
A resolutely human endeavour, the music of SW. is nonetheless written and recorded in the looming shadow of AI, whose free-form adoption of pop culture, hip-hop and techno reminds Wust of “when photography emerged in the 19th century... painting was no
longer bound to naturalism. Similarly, music today is no longer bound to fixed standards – through AI, it can become truly free.”
If not in competition, than taking inspiration from this landscape of new opportunity, tekkNOthing diversifies further with eight unpredictable tracks across part II, taking in stuttering machine-funk on ‘crAMPDUNK’, a freeform organ jam via ‘sonicENdo’ and the
inexplicable piston-percussive, post-punk exotica heard on ‘poorTENOOR#a#01’ DJs with dual cassette decks skills might even find function in the more overtly floor-focused ‘DU ¨NEhowSE#1takeÄ’ or ‘lookLOOK’.
The times may have changed, but the promise remains simple; more music, more freedom.

Daryl Systems: The Wall Street Investor Turned Synth Maestro_
Daryl Systems, a former Wall Street stockbroker, found his true calling in music after a successful career in finance. Born and raised in the heart of New York City, Daryl made his fortune in the high-stakes world of stocks during the booming 90s. By the mid-90s, he had amassed significant wealth, allowing him to retire early and turn his attention to his lifelong passion: music.
Daryl relocated to Sweden, a country known for its rich history of electronic music, and began amassing a vast collection of vintage synthesizers. Inspired by the analog sounds of 70s and 80s synth music, Daryl became deeply immersed in the world of electronic production, creating lush, nostalgic melodies with a modern edge. His music blends the warmth of classic synths with innovative soundscapes, capturing a sense of retro-futurism.
Daryl's work is rooted in the tradition of vintage synth music, drawing influences from early electronic pioneers, while adding his own contemporary twist. He quickly gained a reputation within the underground scene for his impeccable taste in synthesizers and his ability to weave intricate, atmospheric tracks. His unique background and sound have made him a sought-after producer within the global electronic music community.

Mr. Fantasy: The Latin Italo Lover and Synth Collector
Mr. Fantasy is a true embodiment of the Italo disco movement, with a deep love for the genre and a keen passion for synthesizers. Hailing from Latin origins, Mr. Fantasy’s music is a vibrant tribute to the golden era of 80s Italo disco, blending nostalgic melodies with rich, rhythmic layers. With a particular obsession for collecting vintage synthesizers, Mr. Fantasy's music brings the analog warmth of the past into the present, creating a captivating blend of melodic hooks and captivating synths.
He grew up listening to the Italo disco classics, developing a fascination for the genre's distinctive sound, which he now incorporates into his music. Mr. Fantasy’s tracks are filled with pulsating beats, dreamy synths, and smooth basslines, all influenced by the golden age of Italian disco and electronic music.
His passion for synthesizers is matched only by his dedication to creating the perfect track. By blending his Latin roots with the shimmering sounds of Italo disco and the energy of modern electronic dance music, Mr. Fantasy has carved a niche for himself in the underground electronic scene.

The Collaboration: "Sensazione Elettronica" EP
In a highly anticipated collaboration, Daryl Systems and Mr. Fantasy have teamed up to release a new EP for the Italian record label Maledetta Discoteca. This collaboration brings together their shared love for vintage synthesizers, the Italo disco influence, and a passion for deep, atmospheric electronics.
Sensazione Elettronica features four electrifying tracks that blend retro vibes with fresh, forward-thinking production. Drawing from their unique backgrounds—Daryl's transition from the world of finance to full-time music production, and Mr. Fantasy’s deep connection to Italo disco—they have created a sound that is both nostalgic and innovative.
The EP showcases their mastery of classic synthesizers, with catchy melodies, driving basslines, and smooth, atmospheric textures that transport listeners to a world of neon-lit discos and timeless electronic rhythms. It’s an exhilarating project that marks the beginning of an exciting new chapter in both of their musical journeys.

Hot Creations kicks off its 2021 release schedule next January with a stunning two tracker from Dateless. Titled Bee, the release marks the LA-based artists debut on the label, having previously released on offshoot imprint Hottrax.

The title track takes charge with punchy four-four drum patterns and an infectious lead synth. Driving kick-hat combos provide the overarching rhythm before groove-lead bell chimes come in and out, creating a peak-time dancefloor cut. Line In The Dirt takes things back to basics, blending stripped-back percussion with minimal-laced kicks and a powerful lyrical offering throughout.

Los Angeles’ Dateless is swiftly cementing his reputation as one of contemporary house music’s true heavy-hitters. Performances across major stages in the form of EDC Las Vegas, EDC Mexico as well as Claude von Stroke’s iconic Dirtybird Campouts have brought his unique sound to global audiences. Production-wise, his Cuando Mueves single recently amassed 1.6 million Spotify streams, whilst standout releases on Hottrax, Solid grooves and Viva Music have rightfully established his presence in the scene.

Aeonian Sounds brings a new platform to the world of underground Drum & Bass!
Our aim is to bring the exposure and appreciation to the creative individuals who are dedicated to the true art form of Jungle Drum & Bass.

Here comes a true South American LATIN JAZZFUNK treasure from Argentina!!!
Sound Essence is more than proud to present these lost recordings from 1974 to music lovers again in all their glory.
CARLOS FRANZETTI, who has once again been in the spotlight in recent years thanks to the re-release of his strong late 70s JazzFusion record "Graffiti", was also in charge of this record called DEDOS. The story behind:
In 1974, after CARLOS FRANZETTI was living in Mexico and worked as the musical director of FERMATA International, he returned to Argentina. In Buenos Aires his friend MOCHIN MARAFIOTTI was recently appointed A&R at the local recording label MUSIC HALL . Marafiotti asked Carlos if he wanted to record some of his music and he answered that he had in mind a group playing LATIN JAZZ . After a couple of meetings they came out with the idea of covering the RUBEN RADA tune DEDOS recently recorded in the US by AIRTO MOREIRA along with the OPA TRIO. Carlos contributed his own composition "Doce y Diez" . He selected the group consisting of his friend and member of the uruguayan Band TOTEM, Ruben Rada on percussion, Ricardo Lew on guitar , Emilio Valle on bass and Osvaldo Lopez on drums covering keyboards and vocals himself . This formation recorded tracks and vocals in a three hour session and the next day the track was mixed. Music Hall released "Dedos" and "Doce y Diez" on a single record and after months of discrete airplay and not so good sales the project for an album was draped.
"It is a rewarding experience to see a re-release of this two songs a half century after the original release.
It was hot and it looks and sounds even hotter now. I love it!" (Carlos Franzetti, New Jersey, December 2024).

Celebrating the 20th anniversary of Callisto's impactful debut album, Svart Records is proud to bring it to you for the first time ever on wax! Callisto is a post-metal band from Turku, Finland formed in 2001. They've headlined several tours in Europe, opened for High On Fire on their UK tour, and showcased in Canada and the United States. Whilst their early works are hardcore and metal, the debut album True Nature Unfolds has a strong sludge metal and doom influence. It was recorded in 2004 by the late Mieszko Talarczyk (Nasum) and introduced to Earache Records a year later through Johannes Persson (Cult Of Luna), earning the band worldwide distribution. True Nature Unfolds was originally released only on CD in 2004 by Fullsteam Records in Finland and Earache Records in the US and UK a year later. The album delivers a breathtaking mix of atmospheric soundscapes, heavy riffs, and haunting melodies. Each track invites you on an emotional journey, blending post-metal intensity with introspective lyricism. Don’t miss this powerful musical experience—let the journey begin! The 20th anniversary edition of True Nature Unfolds is presented on double vinyl in a glorious gatefold cover, with new album art by the band's drummer Ariel Björklund. Available versions are the Svart exclusive green/red/black marble vinyl, limited golden yellow vinyl, and classic black vinyl. Release date December 13th, 2024.

'Cupar Grain Silo' is Sam Annand's first release on the Blackford Hill label. Its nine tracks blur the lines between ambient electronica and sonic history, as synthesised melodies and rhythms reverberate through the extreme acoustics of the disused Cupar Grain Silo in Scotland. Built in 1964 as a sugar store, the silo towers 60 metres above the surrounding Fife countryside. Its industrial life was short: in 1971 it was closed, and barring a short period as a grain store, remained empty for decades.

In 2014, Sam Annand was given access to the silo as part of the Resono project, set up to study a series of highly reverberant locations across Scotland. The ambitious industrial architecture of the Cupar Grain Silo has given the space a reverberation time of 36.5 seconds. This measurement describes the time a sound takes to decay or 'fade away' in a closed space. To put this in perspective, the Cupar Grain Silo reverb time is around three times longer than that in cathedrals like York Minster and St Paul's.

"The acoustics are immediately noticeable when climbing the ladder into the main chamber", Sam says. "The sound of your voice begins to circle around and above you, inviting you to shout, clap and bang objects to excite the space into revealing its intimidating architectural voice."

Sam began to experiment with musical compositions which responded to the unique acoustics of the silo space. He used impulse responses – a short, sharp sound like a gunshot – to record these acoustics, allowing him to experiment with the silo's reverb in his production. Sam's compositions were performed using a modular synth system, a Roland Juno-6 polyphonic synthesizer and a bowed ride cymbal.

"Chords can be constructed in time by hanging successive single notes in the air," Sam describes, "The flutter echoes from the immediate cylindrical walls can be used to create bursts of scattering spatial imagery and harmonic blooms, following short percussive moments."

Originally recorded on 21st May 2016, 'Cupar Grain Silo' is now released on 12" vinyl with an accompanying booklet of imagery and essays. The compositions are at once true to the unique architectural acoustics of the silo whilst also being playful and experimental with the creative possibilities it offered. Arpeggiated melodies ebb and fall across extended call-and-response shapes formed by the silo's reverb; modular drum patterns crackle like dying machinery; whilst bowed drones waver and wash over.

"We all love reverberation," reflects Prof. Peter Stollery, Professor of Composition and Electroacoustic Music at the University of Aberdeen, on the project. "As kids, we play in it – yelling in forests and caves, surreptitiously dropping objects in huge churches – mouths wide open at the lingering smears of sound which come back to us."

In 'Cupar Grain Silo', Sam Annand has harnessed the extraordinary acoustics of the disused silo to tap into this sense of joy and amazement that reverberation can bring.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

“Reconnect”, a collaborative project between Italy’s Francesco Mami and France’s Julien Chaptal, is a musical exploration that originated during a unique period of global confinement, where creativity flourished in unexpected ways.

The genesis of "Reconnect" traces back to a time when the world was asked to pause and stay indoors. During the first 50 days of this period, Julien Chaptal found joy and inspiration in reconnecting with his instruments and the myriad of musical ideas that constantly filled his mind. Embracing the freedom to create without boundaries, he produced a track a day, amassing around 50 tracks, many of which remained unfinished.

A year later, a serendipitous meeting in Geneva with Francesco Mami over sake, good food, and music sparked the idea of collaboration. Julien sent some of his initial tracks to Francesco, who reworked them, adding his unique touch and bringing them to life. Their online exchange and collaborative efforts resulted in the tracks that now form the EP. Francesco, a true studio craftsman, expanded on Julien's original vision, creating a synergy that neither could have achieved alone.

The record encapsulates a theme of "Confined Freedom," a reflection of the period of its creation and draws from three decades of electronic music influences, a melting pot of inspiration that shaped its sound. The warmth of the gear used in the studio sessions provided a comforting contrast to the external circumstances. Various drum machines and synthesizers were employed, contributing to the unique sound of the EP, though no specific piece of equipment was highlighted as central to its creation. "Reconnect" is not just a collection of tracks; it is a testament to the resilience of creativity and the power of collaboration, even from a distance.

With remixes by masterminds Reboot and Johnny D, the vinyl dropping on the shelves December 6th, 2024, is set to catch the ears of many!