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DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.

After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..

The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..

The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..

On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..

Seven years after 2019’s ‘The Dusk Loom’, Petrels returns with a pair of new albums, Infangthief and Outfangthief. The first of these releases, Infangthief, was originally written and recorded in 2022, before being reworked in light of a subsequent album, Outfangthief, due to be released later this year.

The two albums act as companion pieces, mirrors revealing facets of the other, overlapping in sound and subject matter. Though Outfangthief may have been written after Infangthief, it is no mere follow-up, with it's own creation causing a re-visiting and re-working of the earlier album, which in turn informed the writing of its twin.

Taking their titles from Old English legal terms ("thief seized without" and "thief seized within”), the central thread running through both albums is the illusion of assumed human authority - that which is given and that which is taken by force. With Western society seemingly hellbent on willingly embracing a brutally destructive economic model (even in its death throes), these albums attempt - in their own small way - to undertake the essential task of imagining alternative ways of being.

Petrels is the solo project of musician and artist, Oliver Barrett. Since releasing his debut, Haeligewielle, in 2011 (#9 in A Closer Listen's Best Albums of the Decade), Petrels has toured across Europe and shared a stage with the likes of Jóhann Jóhannsson, Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Working from his home in Somerset, UK, Barrett has released numerous albums through his Floating Limb imprint, as well as mixing and/or mastering hundreds of releases for the likes of Keiji Haino, Loren Connors & Alan Licht, Judith Hamann, Incapacitants, Mette Rasmussen & Sofia Jernberg, Yasunao Tone and more

“Petrels sidesteps the chilliness found in much of the music of his peers, replacing it instead with an almost spiritual ecstasy, his ravishing synths and almost choral vocal treatments calling out in cosmic, wide eyed wonder at the universe.” – Paul Margree, Louder Than War

Produced by François Tétaz and Luke Howard and recorded primarily at Melbourne's Synth Temple, Tina Arena's Way Of The World reimagines “True Faith” (New Order), “Way of the World” (Max Q / Michael Hutchence), “Enjoy the Silence” (Depeche Mode), “Ordinary World” (Duran Duran), “Torno Bambina” (Ada Mori) and “Cayendo” (Frank Ocean) through stunning orchestral arrangements, prepared piano, analogue synthesis and electronic textures.

Rather than traditional cover versions, these are complete artistic reimaginings that reaffirm Tina Arena as one of Australia's most expressive and enduring vocalists. Of first single “True Faith”, Tina says: “Making the deliberate choice to focus on the lyric of true faith was musically revelatory for me. It presented a blank musical canvas with endless vulnerability and space for me to explore.”

François Tétaz, a Grammy and ARIA-winning producer known for his work with Gotye, Kimbra and Architecture in Helsinki, contributes synthesisers, Rhodes, prepared piano and drum machines throughout, while pianist and composer Luke Howard shapes the EP's restrained, cinematic language. The pair are joined by an ensemble including the Budapest Art Orchestra, Peter Knight, James Rushford, Mindy Meng Wang and orchestrator Felix Watson, giving the collection its rich, orchestral backbone.

The EP announcement lands amid a landmark 50-year career anniversary for Tina — one of Australia's highest-selling artists of all time, having sold more than 10 million albums worldwide.

After establishing their identity with their debut EP, Alma de Baile, Geneva-based duo Roshâni unveil Planet R, their first album, set for release on October 15, 2026, via Stonepixels and distributed by The Orchard.

More than just a record, Planet R is a world of its own: a planet shaped like a disco ball, where languages blend, synthesizers intertwine with organic grooves, and dancing becomes a form of futuristic therapy. Sung in Farsi, Spanish, French, and English, the album moves freely between futuristic disco, alternative pop, experimental electronic music, and contemplative ballads, never seeking to belong to a single scene or territory.

Omasta step into their own voice with “Hits Different”, marking a new stage in their evolution as musicians and storytellers.

Following their debut “Jazz Report From The Hood", which proved a major success and brought attention to Omasta as one of the most distinctive groups emerging from the contemporary jazz scene, the musicians return with their second album, “Hits Different”. The record develops the language established on their debut, pushing it into new territory and shifting the perspective from that of the protagonists themselves to that of a narrator telling the story.

While the debut album was a story about the lives and emotions of the band’s members, “Hits Different” adopts the perspective of a narrator, giving the album a more cinematic structure. As on the first record, the story is never told explicitly. The track titles merely point the way, leaving space for listeners to bring their own emotions, imagination, and experiences to the music. Each track becomes another scene in a story that moves through a broad spectrum of emotions, from happiness and excitement to anxiety, tension, and disorientation. It is a story that allows everyone to create their own interpretation, but its ending leaves no room for doubt. There is no happy ending here.

Norman Gervais and Charles Bals return after last year’s Transcoastal compilation with their first project for the Italian label Periodica Records and its newly founded imprint, Periodica International.
The concept behind SiRENE 89 is quite particular and took six years to develop. It is presented as the live recording of one long evening, with different bands taking the stage one after another on the terrace of a Mediterranean holiday resort in 1989, inspired by the places Charles and Norm remember from their summer holidays around that time.
The songs were recorded between 1982 and 1993 and gathered from small-time artists, beach-club vagabonds, local micro-labels, library records and privately released tapes. The music moves lightly between mystical ballads, digital samba and loose, sunburnt dance songs, carried by drum machines, not-quite-tuned guitars and college-band voices.
The audience on the terrace remains quietly present throughout, joining the tracks into one continuous, partly improvised set. By the end, it feels less like a compilation and more like a place where you have spent the night, proving that charm can carry further than perfection.

Marcos Valle is one of those artists you simply can't overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn't stop there. He has continued recording fabulous albums over the following decades, right up to the present day. Widely regarded as one of the finest recordings in Marcos Valle's catalog, Vento Sul (1972) represents a pivotal moment in his artistic evolution, revealing a composer unafraid to reinvent himself and push the boundaries of Brazilian popular music. From the hypnotic title track to highlights such as "Democústico," "Revolução Orgânica," "Paisagem de Mariana," and "Pista O2," the album remains a breathtaking achievement whose influence continues to resonate more than five decades later. This reissue shines a well-deserved spotlight on a landmark recording -- an essential chapter in Brazilian music and an indispensable addition to any collection of psychedelic, progressive, jazz, or MPB classics. Pressed on 180g vinyl.

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

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

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

– INCOGNITO

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

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

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

Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

Label head Len Faki joins forces with Icelandic dub techno pioneer Exos for Infinity In Loop, a joint exploration into cavernous depths and shifting tonal landscapes.
Two versions of the title track fill the entire A-side, each unfolding with patient intent. Drifting across icy atmospheres and static hums, Infinity In Loop’s first incarnation slowly builds into a mesmerizing, minimalistic loop—punctuated by delicate percussion and a faint, comforting sprinkle of melodic warmth amidst the arctic chill. The second iteration leans more into a classic 90s dub techno framework, launching straight into a steady pulse anchored by echoing chord pairs and crisp, high-energy percussion.
On the B-side, the duo shifts towards raw, dancefloor-driven territory. Aurora delivers impressive tension with dry, jacking rhythms, snappy percussion, and haunting vocal fragments cut up to drive the groove forward. Closing out the EP, Circuit Flux pairs sub-heavy low-end with unpredictable rave energy. Nostalgic 90s vocal cues, pitched-up hooks, and fidgety FX swell and recede over staunch synths—creating a dynamic, deeply layered track that constantly shifts between space and peak-time momentum.

Limited White Label reaches a milestone with LTDBLBL025 – our first ever LP. For the occasion, we’re handing the catalogue over to Boris Graus aka Borka & The Gang for a 12-track journey through House, Jazz-House and Deep House Electronica. The double LP brings together years of Boris’ work and collaborations, connecting electronic production with the feel of live musicianship. Across the record, House grooves meet jazz, disco, funk and deeper electronic textures, moving between warm, rhythmic cuts and more atmospheric moments. Boris plays the keyboards, glockenspiel and percussion himself, while the record features contributions from a wide range of musicians from both his local circle and further afield – including Malou de Sel on vocals, Jürgen Leutnant on saxophone, Bruno dela Rosa on bass, Dario Cei on flute and Bruno Freitas on guitar.

Pressed on double 12” white vinyl, LTDBLBL025 is not only the first LP in the Ltd, W/Lbl catalogue, but also a milestone for Borka & The Gang – bringing together a body of work that reflects Boris’ long-running connection between electronic music and live musicianship. LTDBLBL025 – 2×12” White Vinyl / 12 Tracks

Injury Reserve was originally a trio, consisting of rappers Ritchie With a T and Stepa J. Groggs and producer Parker Corey. Their mixtapes Live From The Dentist (released in 2015) and Floss (2016) earned them underground buzz, and they capitalized on the attention with their debut album in 2019, the eponymous Injury Reserve.

The group's momentum was put on hold when in June of 2020 Groggs tragically passed away. By the Time I Get to Phoenix was largely completed ahead of Groggs' passing with his contributions, and will be the first Injury Reserve music to be released since their eponymous debut album. Ritchie and Corey took the past year to complete the record, and the title has meaning past simply referencing Injury Reserve's hometown. It's an homage to a song that has been covered countless times, which is in line with Injury Reserve's ethos and approach when it comes to creating music. The group pulls from several styles and eras of hip hop, but runs each one through the Injury Reserve lens, putting their own distinct and cohesive sound across their references. Nowhere is that dynamic more present than on By the Time I Get to Phoenix.

After years of building around techno, Genex is moving somewhere else.

The shift has been happening for a while. The music is becoming less about the expected function of a techno record and more about groove, movement and the details that make a track feel alive.House has always been part of the picture, but now it takes a much bigger role. Weeks & Weeks EP marks the first release from this new chapter.

It also opens the catalogue of Concrete Soul, a new label built around house and techno with soul. A place for music that can be raw without losing its character, and functional without losing the feeling behind it. Concrete Soul is about the contrast between the hard and the human, the concrete and the soul.

"For those who feel the ground"

Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago.

Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections.

Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering.

Overleaf is about carrying what remains into what is yet to come.

2026 Repress

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

After decades contributing to records where a single riff could transform a dancefloor, Charlie May turns that instinct inward on Trusted Farms.
For over thirty years, Charlie has occupied a position that seems increasingly rare in electronic music: the musician’s musician, the person behind the machines, the extra pair of hands in the studio, and quite often, the person responsible for the melody you end up carrying around in your head for weeks on end. 
Alongside Duncan Forbes as Spooky, Charlie helped shape some of the most important electronic music to emerge from the UK in the early ’90s. That partnership would also sow the seeds for one of Sasha’s defining records: the central riff behind Xpander began life in Spooky’s live material, before Charlie brought the idea into the studio with Sasha and helped transform it into one of electronic music’s most enduring anthems.
Listen closely to Charlie’s work and there’s a particular instinct that keeps returning: knowing when a simple synth line is enough. Knowing which note needs to change. Knowing when repetition stops being repetition and starts becoming the entire reason a track works. More recently, as one-third of Quiet Places on ASIP, he’s taken those same instincts somewhere looser — beatless, gridless and led by improvisation.
Trusted Farms puts those instincts front and centre.
Tiny melodic phrases appear and refuse to leave. Synth lines repeat just long enough to become lodged in your head. Parts rub against each other without being tidied into submission. There’s a sharpness and directness to it all amongst the purposeful analogue warmth.
Some of these tracks feel almost ridiculously simple at first. But simplicity is difficult when you’ve spent decades learning every possible way to complicate something. Many of the parts on Trusted Farms were performed live with minimal editing. A synth line might be doubled, distorted, re-recorded and pushed back through another piece of equipment, but it remains the same idea. Instead of filling the gaps, Charlie works on the weight and character of what is already there. The melodies become physical; slightly worn around the edges.
For someone whose fingerprints can be found across some genuinely monumental moments in electronic music, Charlie has spent decades knowing what to add. 
Trusted Farms is about knowing exactly what to leave alone.
Available on black 12”, mastered by Andreas Lupo LOOP-O Lubich and featuring artwork by Peter Skwiot Smith,

Following two 7” releases, Silsila Dubs presents its first 12”: Redemption / Memories. Two rhythms, each with a main cut and a dub version.

Drawing on the UK roots sound of the 90's, Redemption leads the A-side with a warrior-style rhythm and meditative melodica played by Silsila Dubs’ Govind Singh. On the B-side, Memories picks up the pace. Inspired by the tunes we grew up listening to, it brings a more lively, jumpy energy to the sound system.

Following the release, you can catch Silsila Dubs with the Mya Hi-Fi crew as they string up for the first time on 23rd October at Brook House in Hayes.

The Experience is a project by Andrea Benedetti and Eugenio Vatta released back in 1992. The track "Madcap" was realized during the period of the collaboration of the duo with Lory D'S Sounds Never Seen period and it's an experiment that mix techno, breakbeat and sample extravaganza at its best. The main track "Tubes" was a deep techno monster presented in two versions. One has been recoreded live with Andrea Benedetti managing drum machine and bass, Eugenio Vatta sampling, chords and effects and Paolo Dieni on percussion. The second one has more emphasis on melodies and effects with different equalizations and volumes concerning percussion and drum machine. A lost jewel reissued by Back To Life.

DJ Support: Glenn Underground, Leo Mas, Sean Johnston / ALFOS, Massimiliano Pagliara / Panorama Bar, Al Mackenzie / Field of Dreams, Shane Johnson / Fish Go Deep, Flash Atkins / Paper Recordings, Pete Gooding, Mark Broadbent, Max Essa and plenty more.

2026 has been a particularly busy year for Visions of Light, the Balearic/ambient/dub trio founded by Freebooter Records’ Simon Sheldon alongside Muzka and Dan Dub Lounge. Following the Dedications EP – their warmly received collection of Balearic dub reinterpretations of White Isle-friendly club classics – the trio return with ‘Mycelium Bloom’, the follow-up to their 2025 debut LP The Mandela Vortex. Mycelium Bloom sees Visions of Light expand their signature sound, blending downtempo dub grooves and sunbaked Balearic soundscapes with hallucinatory electronics and psychedelic touches. Layered guitars, deep bass, immersive textures and dreamlike melodies run throughout an album designed for both sunset listening and deeper late-night excursions.

Opener Split The Scene sets the tone with acidic electronics circling languid beats, heavy bass and spacious pads, while All The Best Thing taps into the spirit of early ’90s chill-out rooms, adding desert blues influences to its hazy, enveloping atmosphere. Holding Jupiter pushes further into psychedelic territory, built around low-tempo rhythmic drift, effects-laden guitars and expansive chords. Elsewhere, the trio reconnect with their rootsier dub foundations. B Town delivers a warm, summery skank, while Radiant Flux shifts towards Balearic dub dancefloor territory. Perfect You, featuring words written and performed by Richard Dormer alongside flute from Luis Vilca, is a gorgeous sunset-ready highlight, while Let Go closes in on pure Balearic bliss through gentle melodies and slow-burning atmosphere.

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

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

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

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

We welcome Art Bleek on klakson! this paris based producer/musician already released some nice quality house music on labels like connaisseur recordings but is also know for his more jazz orientated projects, playing live sax and piano! this EP brings you 3 beautifull, deep and soulfull tracks with a nice distinctive drive. Larry Heard meets Metro Area meets Raiders of the Lost Arp!

A new producer-led project from musician and composer Nitzan Dana, Islands on Tape arrives with Dust Conspiracy, a cinematic and deeply textured three-track EP balancing vintage exotica, library music, psychedelic groove and modern beat culture.

Previously known for his work with psychedelic post-rock outfit Meuban, Dana created Islands on Tape as a separate artistic identity, a space to explore instrumental composition and studio experimentation through a more personal lens. Across the EP, he draws on a wide palette of influences, from Sven Wunder and Maston to exotica pioneer Les Baxter, alongside the sample-driven worlds of Madlib and MF DOOM. The result is a record that feels loose and organic in spirit while remaining intricately arranged and carefully constructed throughout.

Recorded across just three sessions with a close circle of collaborators, Dust Conspiracy draws together live drums, flute, percussion, surf guitars, Farfisa organs and atmospheric textures into a sound equally indebted to 1960s soundtrack music, dusty hip-hop production and classic exotica records.

Opening track “Dust Conspiracy” began with a bassline inspired by late-night listening sessions and crate-dug hip-hop production. Initially built around sampled drums, the piece evolved into a fully live recording featuring drummer Lotan Yaish (El Khat, Şatellites) and percussionist Ron Avidan. Swirling organs, creeping rhythms and heavy cymbal work give the track the feel of a lost 1970s espionage soundtrack, smoky, hypnotic and cinematic.

Blending cinematic soul, psychedelic groove, exotica and rhythm-heavy instrumental production, Dust Conspiracy introduces Islands on Tape as a richly detailed new studio project, equally suited to late-night headphone listening, imagined film sequences and dusty, atmospheric dancefloors.

For the last decade and change, Lazarusman has steadily worked his way towards becoming a seminal voice in electronic music. In that time, he has left no genre untouched, bringing his brand of metaphysical, pun-heavy, imagery-driven, uplifting poetry to audiences across the globe.

These exploits have earned him a 2021 Grammy nomination and countless chart-topping records with some of the most remarkable producers in the industry.

His debut album, Skin, is an exploration of identity. Lazarusman questions his place in the world, reflecting on growing up in a now-free South Africa. The album touches on colourism, racism, faith, love and the existential crisis of existing in a divided world.

The album is also a celebration of the many genres that inspire his poetry from deep, tech and Afro house to breakbeats and jazz. But it is equally a celebration of the word, and the power it carries.
“A man is only as good as his word.”This quote epitomises Lazarusman’s honest approach to an album that reflects the last 15 years of his career. With productions from FKA Mash, Stimming, Dwson, Boogie Vice, Zitow Mowa, Axone and Johannes Brecht, Lazarusman presents a kaleidoscope of sounds.

DJ support by Keinemusik, Stimming, Acid Pauli, Xinobi, Stavroz, Xique Xique, Paco Osuna, and many more.

Tip-on Cover, Special Varnish

Available in the following Territories: Wordwide minus Japan & Korea

NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.

The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.

Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.

Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.


Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."

The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.

I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.

Back by popular demand, Shawn Ward's sought-after Forward Motions EP returns on vinyl, giving collectors and DJs another chance to secure a modern deep house favourite.

A respected figure in underground house for more than two decades, Ward has developed a distinctive sound built on warmth, musicality and understated sophistication. Forward Motions EP continues that tradition with four impeccably produced cuts that balance dancefloor energy with timeless listening appeal.

With original copies becoming increasingly difficult to find, this long-awaited repress makes an essential release available once again for a new generation of listeners, while giving longtime fans the opportunity to replace worn copies or finally complete the collection.

Marion Poncet delivers his heartbeats in full length format as 2x12“ on Smallville's Fuck Reality.

While Traumer might be the most prominent moniker of Romain Poncet- and the one he is currently touring the world as- there is countless other musical projects that the artist is operating as. And its the lesser-known side-projects, that complete the picture of a truly versatile musical mind. So next to Traumer, you'll meet Brako, Amine Laje, Jinger, Redspecs- Marion Poncet - and even more side-projects within the world of Romain. He has always seen his monikers as a form of expression and to showcase his musical broadness. Of course there is House music in all different shades & moods- but Romain also released techno, downbeat & trippy things for the heads as well as broken beat material.

„The Raging Swells Crushing The Cliff Of My Love” was written during a period of longing for his love – so here is a deeply personal album as a musical dedication. Expect thoughtful-but-crunchy house music with a chunk, that sounds as if it was made for Smallville's Fuck Reality imprint.

Fuck Reality LP 02 comes as a 2x12”, as always with a full cover artwork by Stefan Marx.
Love from Smallville - stay positive – Fuck Reality!

Rich Oddie of Orphx and Alex Pi of Pi Electronics introduce Anaxia, a new project arriving on Veyl with the 7-track LP “Maska”.
Built from raw electronics, stripped-down drum machines and a stark post-punk pulse, the record sits somewhere between industrial pressure and the ghostly minimalism of Suicide. It is direct but shadowed, physical but restrained, with vocals from Oddie and Pi cutting through the machinery rather than sitting on
top of it. Oddie’s background in Canada’s industrial underground and Pi’s long-running connection to the Greek electronic scene meet in a sound that feels tense, reduced and fully intentional. KAOSMOS and Florian Engerling add additional vocals, while remixes from In Trance 95 and Veyl regulars Years of Denial extend
the material into darker, more hypnotic territory. With “Maska”, Anaxia deliver a debut that feels fully formed: nocturnal, focused and stripped to its essentials. A natural fit for Veyl, the record draws a line between post-punk, industrial electronics and body music without overexplaining itself.

The Sound Of Slip ’n’ Slide, Vol. 2 continues the new series from the legendary Slip ’n’ Slide catalogue, bringing together another selection of timeless house and deep house cuts from some of the genre’s most influential artists.

Featuring standout productions and remixes from Masters At Work, Blaze, Kings Of Tomorrow, Booker T and Cassio Ware, the release showcases the soulful, groove-led sound that has made Slip ’n’ Slide a cornerstone of underground house music.

Including classics such as Funky People, Open Your Mind and Breathe, this second volume brings together a selection of proven dancefloor records in one DJ-friendly vinyl package.

With warm grooves, uplifting vocals and timeless club arrangements throughout, these tracks continue to resonate with both long-time house collectors and DJs looking for reliable dancefloor material.

As the second edition in The Sound Of Slip ’n’ Slide series, this release builds on the success of the collection, bringing more essential catalogue favourites back to fresh black 12" vinyl.

A strong catalogue addition for stores supporting classic house, deep house and soulful underground sounds.

Foul Play return to Over/Shadow with two heavyweight remixes of their classic sound.

DJ Trax delivers a rolling, bass-heavy rework packed with old-school jungle energy, while Arcane brings a darker, more atmospheric interpretation to the flip.

Two essential remixes for fans of Foul Play, Over/Shadow and classic jungle.

2026 Repress

Portugal's Dextro returns for second EP of stylish deep techno on Mutual Rytm with ‘Planets And Stars’. Dextro’s tunes have long been a staple of Mutual Rytm label head SHDW's sets, with the esteemed veteran previously landing on the label with his ‘Covil Dos Abutres’ EP last year. His return with ‘Planets And Stars’ features a selection of his most requested IDs from recent times, with the Portuguese DJ/producers featuring as a longstanding favourite within the European underground since the 90s through his stripped-back, economical sound that is rooted in masterful design and intuitive grooves. He is a true studio craftsman, whether going deep or more destructive, and that range is on show here as he makes a splash for his sophomore outing. SHDW notes, “‘Planets And Stars’ feels like his most refined and focused work to date. It also further strengthens our relationship, rooted in a shared vision and values around music and how it should be presented.” The EP kicks off with the heavyweight ‘1000 Places’, a track that will rattle walls as eerie synth whispers and sonar blips snake through the mix. ‘Industria Acéfala’ is just as hypnotic with a deep blend of rolling bass and rooted kicks, while unsettling tension comes in the one-note synth loops and scratchy texture. ‘Planets and Stars’ provides an intergalactic trip with cosmic dust, conscious spoken words and an infinite horizon that has you gazing off into the distance. The all-consuming ‘Perpendicular’ is shadowy with impish motifs darting about the mix as watery droplets fall into cavernous kicks. ‘Winter Letter’ is the final 12”cut and is perfectly deep, linear techno with gorgeous ambient details that turn your thoughts inwards. Three digital bonuses expand the trip: ‘Torresmos com Pão’ is unsettling and sparse, ‘Historia da Vida’ ramps up the tension with oversized hi-hats and rising synth turbulence and finally ‘Ghost Particles’ has shimmering bell sounds evoking a spooky moon-lit church in the dead of night.

Following July's remastered reissue of Robert Hood's "Invincible", M-Plant's Perpetual Masters series continues with "The Metronome" set for a vinyl release in September, coming after the digital versions which dropped in the summer.

Robert Hood's "The Metronome" distils techno to its barest, most hypnotic pulse. Over the two tracks, Hood strips rhythm down to ticking hi-hats, lean kicks and looping motifs that feel mechanical yet human. The grooves are relentless but never cold, building tension through subtle shifts instead of excess. Originally released in 2002, it remains a masterclass in minimalism: precise, cerebral and intensely physical that still sounds futuristic more than two decades on.

Like other releases in the Perpetual Masters series "The Metronome" has been remastered by legendary German producer, Thomas Heckmann.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

The third chapter of The Third Room's curator-led series is shaped by Verraco, one of the key voices behind a new generation of artists reshaping contemporary club music. Through his productions, DJ sets and his work with TraTraTrax, he has helped define a sound where hybrid forms, rhythmic experimentation and cross-cultural influences are pushing the genre into new territory. Structured across two distinct sides, the release draws a clear connection between past and present. The A-side leans into a deeper, more classic space, while the B-side moves towards a more forward-facing, hybrid sound. It opens with Libration (Stone Version) by Substance & Vainqueur, a revisiting of their landmark 2007 release, a track that helped define the language of Dub Techno as it is understood today. Reduced, deep and spatially precise, it established a blueprint for how rhythm, delay and tone could function together. It's presence here acts less as a nod to the past and more as a reminder of a foundation that continues to shape the genre. Skee Mask's Clear Sky 909 continues this thread, softening the edges without losing depth. Warm, enveloping textures and fluid movement give the track a sense of openness, balancing clarity with emotional weight. The B-side shifts perspective. On Untitled (Teamgeist Mix), Verraco, joined by Tils, delivers the record's defining moment - a dense, intricately designed piece built on a driving low-end and evolving rhythmic patterns. Elements from Techno, Bass and Leftfield House converge into a detailed, forward-moving structure that actively bridges cultural contexts. It results in a form of dance music shaped by technical precision, but drive.n by a clear sense of intent, marking a distinct expression of Verraco's current sound. Untitled by 1morning introduces a rolling, tribal-infused groove with a strong sense of depth, while PatumPa by Regal86 closes the record with a bright, loop-driven energy that leans into pure motion. Across both sides, the release moves between reference and progression. Rather than separating old and new, Verraco connects them - tracing a line from foundational Dub Techno to a more fluid, contemporary club language. Copyright 2026 The Third Room A1 Written and Produced by Peter Kuschnereit & Rene Loewe | A2 Written and Produced by Bryan Mueller | B1 Written and Produced by JP Lopez & Jakob Ferdinand Tils and mixed by Lurka | B2 Written and Produced by 1morning | B3 Written and Produced by Regal86 Mastered by Andreas Kauffelt (Schnittstelle Berlin) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

2026 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

Send Noods Records is a new label from South Africa's Reagan Ruler, who makes house so sensuous it should come with an 18+ age rating. 'Cosmic Desire' is his latest saucy number and it's buttery deep house with a cooing vocal that swirls through the mix like caramel in a galaxy bar. 'Fly' has a more jazzy, ougnehy melodic vibe to it but the drums remain cuddly warm and 'For A Moment' dials up the energy just a touch. The drums are more upright here, but the chords are still resolutely molten and the vocals are soulful accents in the mix. Gorgeous stuff that's got us keen to hear more from this label already.

Repress!

Dan Kye is the mysteriously evoked moniker from multi-instrumentalist, producer, and vocal sensation Jordan Rakei. The New Zealand-born artist - who now resides in London - presents his first long-player from Dan Kye, ‘Small Moments’, on Bradley Zero’s Rhythm Section INTL. An ode to the dancefloor, the musical project was born out of Jordan’s lockdown experience, created from the comfort of his own home. Recorded with just a laptop, extra live instruments and guest musicians, ‘Small Moments’ seamlessly transcends across electronica, jazz and funk, with each genre being effortlessly fused with Jordan’s melancholy vocals. Allowing himself to push the boundaries, Jordan’s Dan Kye moniker draws on the energetic and uplifting elements of house and techno and perfectly mixes it with the sultry vocals and emotion that come with the live elements we know and love from Jordan Rakei. The record offers listeners a journey through more floor-heavy tracks such as ‘Mogeri’ and ‘Raro’ to more groove infused offerings such as ‘Rainbow Road’ (which is named after one of the maps in Mario Kart and inspired by the energy of Prince’s iconic live concert at The Aladdin in Las Vegas), whilst tracks, like ‘Sober’, take on a more lyrical and anthemic feel.

Jordan Rakei: “Rhythm Section INTL was my entry point into dancefloor orientated music, and it was Bradley who asked me whether I could head in that direction so he could play my music out in the clubs. Dan Kye has still got melodies, but the main focus is to keep it high energy.”

After meeting Bradley Zero online whilst living in Australia, Jordan eventually moved to London in 2014. The same day he landed, he went straight to a Rhythm Section party to meet Bradley, and it was here that he first got a taste for house music. He enjoyed Rhythm Section INTL’s ability to draw on both live and electronic talent; and thus, after Bradley asked him for some productions for the parties, the idea for Dan Kye was born. ‘Small Moments’ is a musical masterpiece that can be enjoyed as much on the dancefloor as it can in the comfort of your own home and is a perfect step into Jordan’s landscape and idealism of dance orientated music.

Bradley Zero - “In around 2014 the proprietor of the famous Northside Records in Melbourne handed me a self released 12” from a new, unknown artist based in Brisbane. It was Jordan Rakei - Franklin’s Room. I’d been home almost a year before I actually got round to listening to it and I remember that moment like it was yesterday. I lay down on the sofa, put the record on and was transported! The Dan Kye project is a testament to the experimental and independent ethos Jordan lives by and is a product of an artist reaching full stride but not afraid to still try something new. This ‘Small Moments’ LP was conceived in a record store, born in a club on Rye Lane and is now flying the nest, throwing caution to the wind and making a bold statement.”

New York's contemporary deep house guardian Fred P has a smoky, spiritual sound that is always inescapably immersive and evocative. For this new EP on Base, he kicks off with something brighter and more extroverted: 'Pardon Me' has long been a staple of his sets and balances his signature musicality with a more playful sax lead and bold rhythm that will get floors bumping. 'Freedom Fam' has one of his classic spoken word monologues drifting next to starry cosmic keys like a voice from the heavens. 'In The Light (Still Wanting)' rewires soulful house in his own vision - deep, insular, brilliantly humid. 'Factory Sound (Edit 1)' is as peak as Fred gets - a driving, musical house rhythm that twists and turns freely as sustained chords layer in some of that trademark emotional pull. Superb.

Mihail A. Popov is a Russian with two decades in the game behind him, partly under his given name, but half of that time has also seen him work as I Gemin. Now he lands on Deeppa Records with a conceptual EP "built around depth, patience and underground exploration." The aim is to explore all new musical ground and follow newly emerging paths, and the result is a fine four-tracker. 'Like The Star' is a lush, deep nu-disco jam, 'Love Undercover' has a seductive slide to the live-sounding drums and playfulness in the horns, while 'Terra Incognita' brings jazzy chords and a balmy late-night warmth. 'Melancholy' gets more heavy and roughed up with smudged neo-soul and r&b samples, making it a romantic affair. Kid Sublime and 6th Borough Project drop remixes that bring more club-ready grooves and complete a superb EP.