quête:two

Canadian producer Kutcorners lands on vinyl with two standout tunes that come hot off the heels of his recently sold out 'Full Circle' 7". Again inspired by finding common ground between classic and contemporary house, 'Keep On Going', opens with springy drums and a rounded bassline flecked with subtle chord stabs. 'Play Me' leans into disco filter techniques, opening and closing the spectrum across a steady four-four pulse. Short vocal phrases punctuate the groove while muted guitar chops and filtered strings build tension before release. Playful and effective with an effortless charm.

He's back once again is Monsieur Van Pratt with more of his so-wrong-they're-right disco edits. This fight volume has two edits reshaping source material with the usual deft touch. His opener 'Linda' runs on clipped drums, tight bass loops and bright string stabs then 'Oye Un Momento' keeps its original vocal but reinforces the groove with heavier kicks and 'El Ritmo Que Te Atrap' has a kitsch Europe feel. On the flip, Disco 86 shifts towards something classier with 'Crees Que Soy Sexy' riding lush chords and plenty of glistening melodies drawn from the Rod Stewart original and 'Tu Amor' is packed with electric vocals and retro future keys for a full send finish.

Several years after the release of ‘Metamorphosis’ (with Sid Hille), Multicast Dynamics (Samuel van Dijk) reemerges on Astral Industries with ‘Circles’ - an enchanting two-part work venturing into deep unconscious realms. Sonic landscapes unfold in a sequence of hidden spaces and intimate revelations, featuring detailed sound design and rich thematic content.

Circle One initiates the process, opening gently with glassy drones and the patter of distant voices. A faint light shimmers through swirling pools of liquid memories and melting forms. The atmosphere builds, and everything is engulfed in the act of transfiguration. 

Passing through the threshold, Circle Two traverses further into cavernous territories. Boundless drifting soon becomes a gravitational pull toward something deeper. Submitted to the powerful undercurrent, incoming primordial pulsations signal a quest that reaches its fated culmination. 

Perhaps the revelation of something long-lost, entering the Circle eludes to that which on the surface remains hidden, yet its rediscovery inevitable.

Dr. Silberman makes a welcome return to Atom Trance Force and kicks things off in 2026 with his EP 'Welcome To The Future'. Two mixes of the title track are included: The fast paced original and the trance mix. The original is a serious ode to the late 90s Hamburg hard trance sound, and you can hear the influence of labels like EDM, Tunnel & Spaceflower. For the trance mix, he brings the tempo back down to 140 and moves more towards older Positiva energy. Rounding off the EP is Friends & Enemies, keeping the energy high but the quality to match.

From Atom - we thank you for your continued trust, and bigups to those supporting this release:

1995 Trance Sessions, Adam (Last Of The Mohicans) Apple FM, Adam Bellew Global Hard House Radio, Angie (FR), Busho, Choci, Digital Devil, Dimitri Kechagias, DJ Brisk [Stimulant DJs], DJs Present, Evolving Suns Audio [Cohesion / The Attic], Giuseppe Ottaviani, J.O.E [Tomorrows World], Jake Ayres, Jake Grace [TranceUnite / FCM Live], Jake Nicholls [Uprising], Loki [Terminal Trax], Louk / Hidden Identity, Mat Phat & Fugee Show [Newport City Radio], Mind Control [Noise Pollution], Mindflux, Paul Nineham [Brisk], Pete Morton [Harderfaster], Remnis, Renegade System, Rennz [Distorted Dreams], Rightsound [Dancesation / Timewarp], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Spektral Noise, Suzy Solar, Tjerk Coers

The Spoiled is an Italian post-punk project led by Giovanni Santolla, blending electronic beats, distorted synths, and reverb-soaked guitars into a dark, romantic, and nostalgic sound.

In 2024, the project self-released the debut EP Time distributed by Manic Depression, followed in 2025 by the full-length Living Ghosts via Swiss Dark Nights—an album that firmly established The Spoiled within the contemporary post-punk scene. Following the album’s release, Giovanni collaborated with international acts including This Eternal Decay, Darkways, Corlyx, Chaos International, and Hinfort, while maintaining a dense touring schedule across Europe and sharing the stage with artists such as Traitrs, Hinfort, Darkways, and Ductape.

The new album When It Rains, set for release on Avant! Records on April 17, 2026, expands The Spoiled’s artistic vision with a focus on intense, romantic soundscapes that delve deeply into human intimacy and interpersonal relationships. Embracing a warmer and more personal sonic direction, the record blends elements of indie rock and electrogaze music that enrich and revitalize the dark, melancholic palette that has defined the project’s earlier works.

Still playing homage to the forefathers of the genre such as Clan of Xymox, The Sound and Pink Turns Blue, When It Rains opens the path of The Spoiled to new soundscapes, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.

FFO: Twin Tribes, Clan of Xymox, She Past Away, Mareux, The Soft Moon, Pink Turns Blue.

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Fully seasoned Italian techno architect Claudio PRC loves Lee "Scratch" Perry and more electronic-leaning deep smiths such as Chain Reaction and Basic Channel who have influenced him over the years and now bring those vibes to the fore. 'Submerged' is immediately horizontal and glacial in pace, with pads that are just and pure and an energy that is impossibly cathartic. The Version on the flip drops in some gentle drums that bring a soft forward momentum. Two lovely excursions.

You wait positively yonks for a new Amit record and what do you know, two turn up pretty much at once. Not that we're complaining, especially as this is quite a different beast to its dubby downbeat predecessor on the Slough producer's Amar label. A double sided collaboration with Bedford's Outrage, 'Trigger' showing the pair taking the most well worn of ingredients - crackling Amen breaks and disorientating synths - and turn them on their head, reshaping them into something you've never heard before. On the flip, 'Zulu' is another hardstepping big hitter with precision beats, plenty of drama, truly disgusting bass pressure and beats that evoke ancient memories of Digital at his most individual. There's drum & bass and then there's 'proper' drum & bass, and it doesn't get much more proper than this.

With their self-titled release on Titrate Records, Post Coma presents two twenty-minute times even dissociation — treating the improvisation as a shared descent into the inner psyche. Listening as much to each other as to the remnants of their own decisions, the music emerges as a kind of cognitive experiment — a document of mutual attunement and the debris that gathers in its wake. The result lies suspended between motion and conclusion, leaving space for what lingers beyond.

Passages in Time, the third album from Kasper Bjørke Quartet, traces the contours of a blend of spiritual jazz reverence and the calming grandeur of '80s ambient. Inspired by Christopher Nolan's observation that "time is the most fundamental part of our human experience," the compositions are approached as fragments of time and memory. Meditations on the elusive nature of time form the heart of the work, merging freeform jazz improvisations with cyclical synthesizer patterns that mirror its quiet undulations.
Dreamy synths intertwine with guitar, harp, trumpet, flugelhorn, saxophone, and flute, creating a spacious environment for contemplation. The music invites reflection on the choices that shape our lives and the lives of those closest to us, and on the quiet weight of our priorities within the brief span we call life on this planet. Each passage unfolds as a fleeting moment suspended in time. The subtitles hint at fragments from someone's diary, tender observations of love, parenthood, and connection. Together, the passages form a musical memoir of sorts, where memory and emotion are gently woven into the compositions.
Passages in Time does not impose structure or meaning, it reflects them, offering an open space as the instruments drift in and out of focus, tracing time's subtle rhythms and inviting the listener to infuse their own memories and meaning into these passages.
The album also marks a transformation for the Quartet project itself. Langstrakt (Claus Noreen), part of the original ensemble, continues to operate the synthesizers alongside Bjørke, while the wider constellation of contributing musicians has evolved. Strings and piano give way to flute and saxophone by Oilly Wallace, guitars by Danish ambient composer Anna Roemer, trumpet and flugelhorn by Malthe Kaptain, and cascading orchestral harp by Katie Buckley, principal harpist with the Icelandic Symphony Orchestra.
The cover painting is by American artist Marcus Leslie Singleton, courtesy of V1 Gallery, and reflects the meditative and timeless atmosphere of the music.
Passages in Time is released on Bjørke's own imprint, Sensitive Records, following the two previous Quartet albums released on Kompakt Records: The Fifty Eleven Project (2018), a debut that introduced Bjørke's ambient and neoclassical explorations, and Mother (2022), which expanded the ensemble's sound with emotive choir compositions and guest appearance by Sofie Birch (Unsound / Stroom). Together, these three albums trace a journey of artistic growth, from introspective experimentation to a fully realized, contemplative expression of time, memory, and human connection.

ANNE Returns to Soma Records with "Sleepwalkers EP", Featuring Exclusive SLAM Remixes

ANNE delivers her fourth release on Soma Records, reinforcing her position as one of techno's most compelling new voices. The release also features two special remixes from Soma founders SLAM, adding heavyweight reinterpretations to
ANNE's original vision.

Sharp and uncompromising, this release is a statement moment for ANNE and a
clear reminder of Soma Records' enduring influence at the cutting edge of techno.

Mastered by Conor Dalton @ Glowcast Mastering.

This year marks 10 year of Madback Records and we've invited some of our favorite artists to the roster.
Both part 1 & 2 will be available as picture disks.
Don't miss out on these collector items!

The experiment aboard orbital station Sequoia-4 began as a routine test of the acoustic array. The team attempted to synchronize an analogue resonator with a quantum audio synthesizer. The two incompatible frequencies were expected to cancel each other out. Instead, the instruments registered a stable wave. It didn’t fade, on the contrary, it did respond to every sound, every movement around it.

At first, they assumed a coding error, but the wave began adapting to the researchers’ voices, shifting its amplitude and rhythm. Within hours, its spectrum started to resemble a heartbeat. The recording was forwarded to the Analysis Division, where it was named Hybrid Dub — a hybrid resonance formed between the machine and the human senses. The phenomenon proved unpredictable: each listener described different effects, from gentle euphoria to vivid recollections of memories that had never occurred.

Even after the system was powered down, a faint signal persisted in the ether — as if the mechanism had learned to breathe on its own. Some claimed that, when replayed, traces of the ocean, rustling leaves, and distant voices could be heard — as though the signal had passed through layers of living matter and remembered them.

The project was shut down, and the archive sealed. Only one line remained in the final report: “The signal wasn’t created — it discovered us.”

7 Inch Vinyl in Picture Sleeve

Two cross-cultural jazz treasures from the late ‘50s, reissued together for the first time. Lonnie Sattin’s deep, percussive takes on Duke Ellington’s “Caravan” and the Middle Eastern melodies of “Uska Dara” prefigure the global jazz movement by decades. Remastered and pressed on 45rpm vinyl, this PANORAMA release highlights the spirit of exploration and connection that the label is famous for and Record Store Day celebrates — a stunning bridge between swing, world rhythm, and jazz adventure. Remastered and Redesigned labels and sleeve, First time on 45.

In the early 2000’s, David Coker, Timmy S and Justin Bailey were right at the heart of the UK tech house scene, producing some of the finest classics the genre has known to date. The projects they worked on together quickly became standout staples and over time those records have turned into proper collector’s pieces.

This reissue on Endell Street brings back one of their most sought after releases. It features the two main tracks from the original release, both carefully remastered and cut one per side. A long lost slice of UK tech house, brought back to life.

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.



At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".



Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.



Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.



Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".



At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material captured here.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. This second additional EP brings two fourteen (!) minutes long journies by Acid Junkies feat. The Doctor and by Purple Plejade, an early outing by Thomas P. Heckmann and Holger Wick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. This first additional EP brings four tracks, by Dutch pioneers Spasms and Random XS, and Chicago heavyweights Mike Dearborn and Gene Hunt. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

In 2023, when Stately Records was playing in Berlin, we connected with Philipp Priebe, the man behind one of the most unique sounds in the world of everything that’s deep & dub. After a long and inspiring night at Golden Gate, the Stately Crew spent the after-hours listening to tracks Philipp had prepared, ultimately selecting four. Two of these tracks were previously released on the digital 'Oh, Why EP', and the remaining two are now coming to life on this very special 10” record.

These beautiful cuts are intrinsically linked to that memorable Berlin weekend and are now permanently etched onto two very special 10” editions in our STLR10 series. The A-side features our signature Stately Records logo stamp. The flipside is stamped with an image of a chair, a subtle nod to Philipp’s label, Stólar, which holds a special place in our hearts.

This black DJ version is vinyl only and limited to a 100 copies and.

We hope you enjoy STLR10.2 by Philipp Priebe.

FLO are leading the modern revival of the British girl group — and doing so at a scale not seen in over two decades. With over half a billion global streams, the trio have delivered the highest-selling tour by a British girl group in more than 20 years, becoming the first since the Spice Girls to reach that milestone. They are also the first British girl group to receive a Grammy nomination in two decades, alongside three MOBO nominations in 2026, cementing their status as both a commercial and cultural force. Rather than simply revisiting the past, FLO are reshaping the possibilities for what a contemporary girl group can be.

Comprised of Renée Downer, Stella Quaresma and Jorja Douglas, FLO’s story is one of intention, craft and deep-rooted connection. The trio had long been aware of one another through theatre school circles, social media and shared creative worlds before coming together as a group in 2019. That early familiarity quickly grew into a sisterhood, shaped behind the scenes through years of studio work, vocal development and trust. Raised by strong single mothers and immersed in performance from a young age, each member brings resilience, emotional intelligence and discipline into the group — qualities that underpin both their sound and their dynamic.

Individually, FLO’s balance comes from contrast. Renée is the group’s compass: composed, business-minded and creatively precise, grounding the trio with clarity and vision. Stella is the spark and the glue — sociable, emotionally intuitive and collaborative — shaped by a childhood between England and Mozambique where music was communal, expressive and felt. Jorja is the fire: outspoken, instinctive and vocally commanding, with a natural ear for harmony and arrangement. Their roles shift and evolve, but together they form a unit built on mutual respect, honesty and shared authorship.

That chemistry is central to FLO’s music. Drawing from classic R&B and soul while pushing it forward through modern production, their sound centres vocal harmony, emotional nuance and storytelling that reflects the realities of young womanhood. FLO reject the idea that strength requires emotional distance; instead, they explore power through vulnerability, confidence and control. From independence and self-worth to intimacy and desire, their writing is direct and unapologetically theirs. As Jorja puts it, FLO are “the brains, the heart and the soul” behind everything they do.

The success of their debut album marked a defining moment — not only for FLO, but for British pop more broadly. It confirmed the appetite for harmony-led, female-fronted groups operating with creative agency, and propelled FLO onto global stages, from sold-out headline tours to major festivals and international television. Along the way they have earned respect from R&B legends and peers alike, performing during Grammy Week for icons including Mariah Carey, Brandy and Chaka Khan, and showcasing their vocal chemistry on NPR’s Tiny Desk — a moment that further underlined the trio’s technical precision and emotional depth.

With their next chapter, Therapy At The Club, FLO expand this emotional honesty into a fully realised creative universe. The concept reimagines the club not just as a place of nightlife, but as a site of release, confession and self-possession — encompassing the moments before, during and after the night out. From mirror affirmations and pre-game chaos, to late-night Uber conversations, dance-floor catharsis and the clarity of the morning after, Therapy At The Club captures how women process desire, heartbreak, confidence and healing in real time, together. It is both fantasy and reality: cinematic, fashion-led and emotionally raw, grounded in sisterhood as a form of survival.

Sonically, the new music leans into dark, euphoric R&B and pop with sharper edges, built on vocal mastery and diaristic storytelling. Lead single “Leak It” sets the tone for the era — playful, charged and unapologetically self-aware — exploring what happens when desire spills over, secrets surface and control is reclaimed. Across the new songs, FLO move fluidly between intimacy and euphoria, turning the club into a space where vulnerability is power and feeling everything is the point.

As a trio built on discipline, joy and deep creative trust, FLO represent a new model for the British girl group: one rooted in authorship, harmony and cultural impact. Balancing softness with strength and ambition with authenticity, they are shaping the future of R&B and pop on their own terms. FLO are not looking backwards — they are setting the standard for what comes next.