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Plastik People - no, not the legendary London venue that was host to dubstep's formative FWD>> parties - a garage label run out of Albuquerque, New Mexico with some seriously authentic roots. This new one kicks off with a raw, bumping Jovonn Project Boyz mix of a vocal house gem that overflows with dusty and soulful vibes. Straight & Shuffle offer the equally timeless 'Love', complete with twinkling synths, golden chords and nice undercooked grooves. The flip features Wayne Hunter's perfect US garage vibes as he flips 'Keep On Pushin'' and last of all is the super silky and speedy house of Baeka's 'All I Need.' These tunes are the very definition of oldies but goldies.

For fans of post-punk and new wave, some songs aren’t just classics — they’re emotional landmarks. Joy Division’s “Love Will Tear Us Apart” and The Cure’s “A Forest” (both released in 1980) helped define an era, shaping decades of alternative music with their stark honesty, atmosphere, and unmistakable sound. Revisiting them is no small task.

Reimagining them successfully is even rarer. This special, limited 7” release — pressed to just 300 copies — does exactly that, thanks to legendary Dutch electronic producer Maarten van der Vleuten. A joint effort between Maarten’s own Signum Recordings and American chill-out imprint re:discovery records, he brings these two towering songs into new territory through the hands of an artist who understands both history and transformation. On one side, Maarten delivers a striking cover of “Love Will Tear Us Apart,” taking on Ian Curtis’ immortal lyrics himself. Rather than mimicking the original’s desolation, this version reframes the song into something unexpectedly inspirational and equally moving. It’s respectful, deeply personal, and emotional. Flip the record and “A Forest” is reborn as an ambient-electro journey, marking the vocal debut of Melbourne-based Linda Kastanja.
The result is dynamic and powerful, retaining the song’s eerie tension while expanding its atmosphere into something spacious and cinematic. Honoring their legacy while reshaping their form, it offers longtime fans and new listeners a rare opportunity to hear familiar emotions from a completely new perspective. Todocument this release, a music video has been made for “Love Will Tear Us Apart,” directed by Maarten and edited by Tobias Grönvall, aka Unit 21.

Veniceberg Records returns with its eleventh installment. After a series of remarkable releases featuring some of the biggest names in the Italian and international underground scene, the label has chosen not to look too far afield for this EP. Instead, it proudly presents a very promising young talent and current resident of the club: Banjo.

With productions characterized by catchy vocals, this is an excellent blend of house, electro, breakbeat, and techno sonorities. He doesn’t fail to deliver a 4-track EP that's ready to ignite the sweatiest moments on the dancefloor.

Love Never Sleep.

To honour the enduring appeal of a great musical rework, Hell Yeah is launching The Art of Remix. This essential new series collects the best remixes from a range of label favourites. First up is Japanese downtempo master Calm with exclusive, never-before-on-vinyl versions of originals by Cantoma, Aura Safari, DJ Sofa’s Dream Baby Dream, Seahawks, Gallo, Yuichiro Kato and more. The release comes with rich liner notes by the authoritative Dr Rob from Ban Ban Ton Ton, and a second volume from Is It Balearic's Coyote will follow soon.

Remixes have always been at the heart of Hell Yeah's output as a way of reworking classic sounds into different contexts, allowing artists to explore outside their usual remit and also to introduce new talents. Clam has long perfected the art with his famously laidback takes on all sorts of Balearic, house, dub and acid under the Mellow Mellow Acid subtitle. He's remixed many a Japanese legend but also a wealth of artists from across the world, and eight of those reimagined gems balance euphoria with solitude on this first volume.

First, his take on Cantoma's 'Way To The Sun' infuses drones and chimes with bubbly acid. 'Sur Mon Balconett' shimmers with Spanish guitar and sultry sax, ghosts of yesterday still shuffling. 'Banana Trance' jolts with breakbeats while taking a Balearic leap into hedonism. Mininn’s 'Vertigo' drifts dubwise, from monastic chants to operatic bursts. Maho’s 'Bakuhatsu' growls dark and sleazy as acid and riffs collide, 'Abysso' floats with strings and sirens in symphony, 'Blue Surround' lulls before exploding with jazz fire and Kato’s 'Kiss of Life' closes with a cosmic, romantic serenade. Calm's The Art of Remix sets a high standard for a series which will soon turn to Coyote and Scandi-house great Bjorn Torske.

Wewantsounds is delighted to announce the first vinyl reissue of Disappointment-Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto"s first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto"s early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta.

Skyjoose and Johnnie Clark set out to push the boundaries of UK Garage and 2-Step, crafting a sound that was raw, souldful, and ahead of its time. The project became known as The Stalker – a name that would quietly echo through the underground. Though countless tracks emerged from those sessions, only two saw the light of day on the original Stalker EP released in the year 2000.

Now, 25 years later, The Stalker returns from the depths of the DAT archives – remastered, reawakened, and ready to move dancefloors once again. This special repress features the two original vocal mixes from the Stalker EP, plus four additional club weapons forged in those same legendary sessions – three of which have never been released…until now.

Suburban Architecture continue their series of sought after 4 track EP releases with their 8th offering, 'Purpose'. This latest release is the most stylistically varied of the duo's releases to date, drawing on inspiration from a multitude of styles which emerged during Drum & Bass's mid to late 90s golden years.

The E.P opens with title track 'Purpose', clashing Jazz influenced instrumentation with deep atmospherics and sharp, angular drum programming, not to forget a tone-setting vocal sample. 'Tones' meanwhile puts the drums at the forefront: Lush keys, melancholy horns and subtle, shifting synth lines underpin an unconventional drum track, packed with rattling percussion and raw energy.

Over on the flip 'Focus' goes harder and darker. Eery synths, atmospherics and a driving drum track set the scene for an explosive second half drum switch. 'Stairways' closes out the EP, marrying uplifting atmosphere with live instrumentation in a style which will appeal to fans of 4hero and the like.

Fronted by Rainie Lassiter's sultry, soulful vocal and produced by Blaze, the track glides between sensuality and euphoria, capturing the exact moment house music went from underground NYC basements to global dance floors. The Deep Dish remix turned it into a worldwide anthem, topping charts in Italy and breaking into the UK Top 10, while still holding down credibility with DJs and crate- diggers alike. Its hypnotic groove, lush chords, and emotional pull have made it a staple in countless sets, and it's been sampled by artists like Four Tet & Champion who recognized its timeless pulse. Three decades later, "Hideaway" still sounds as smooth and vital asthe night it first hit the decks. This 12" features the Radio Edit, Deep Dish Remix & the Acapella.

Skip Audio Records returns with a vinyl-only VA, bringing four cuts from artists shaping the underground edge. Pressed to wax, this is a collection built for selectors who chase depth, texture, and weighty grooves.

DubTape opens with a massive, low-slung bassline, rolling dub-infused minimalism straight into the sound system. Techu follows with tight, percussive rhythms and subtle details that push the floor into late-night momentum.

On the flip, Fraxa delivers stripped-back hypnosis, layering sparse textures and evolving grooves into a pure after-hours weapon. Closing the record, Paolo Driver injects his acid-electro energy—snaking 303 lines, sharp analog hits, and swinging minimal motion that hits the peak-time sweet spot.

Vinyl only. Undercurrents only. Four tracks built for selectors who feel the weight, not just the sound.

Volcov, the Veronese founder of the Neroli record label, returns to the BBE fold with the third compilation in his majestic series 'From the Archives' and once again this new installment is another collection of overlooked gems and unreleased beauties that are set to entice the discerning listener. As with volumes 1 and 2, 'From the Archives volume 3' features cherry picked songs that focus on melodies and weave a thread between eras and genres. From the Archives volume 3 is a genre free journey into authentic grooves which features music from the enchanted tones of Carlo Nino & Friends, an exclusive from Collettivo Immaginario, uptempo moments from remix kings Kaidi Tatham and DJ Spinna as well as two unreleased songs from Fred P and J2 Fusion feat. Javonttee and DJ Genius. From The Archive 3 represents another accomplished work of love from Volcov aka Enrico Crivellaro, who has a long list of albums and compilations under his belt as well as being involved in productions, edits, releases and projects with artists such as Dego, Theo Parrish, Phil Asher, Gerald Mitchell, Domu, Kaidi Tatham, Kirk Degiorgio, Patrick Gibin, Lars Bartkuhn, Ian O’Brien and many more. From the Archive volume 3 is released as a vinyl double LP and a digital download and is a compilation in which the music lover will be guided hand in hand through a collection of unreleased and hard to find songs that shift effortlessly between jazz and house, broken beat, ambient and soul.

Just when you thought Kevin Richard Martin's music couldn’t go any slower, lower or deeper, Sub Zero emerges. A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin’s most striking release to date under his given name.


Originally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia’s initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for Sub Zero to finally surface in its full glory: remastered and paired with fresh new artwork.


Unnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. A trip into a sonic abyss, with a tour of a philosophical void, it’s to my ears, KRM’s most seductive work yet, and also his most emotionally resonant. Martin expertly balances tear-jerking motifs with heavier than hell rhythmic weight. With its melodic fog, eternal drones and eerie atmospherics, the peripheral throb of distant kick drums, the heartbeat punctuation of cavernous subs and the snowstorm blizzard of fuzz absolutely envelopes the mind, whilst crushing the soul.


In terms of lineage, Sub Zero might recall a more paranoid Porter Ricks, a dystopian GAS, or a brutally dubbed-out Pan Sonic. Most fitting, however, is its kinship with the deepest dub terrain Martin previously explored on In Blue, The Bug’s acclaimed 2020 collaboration with Dis Fig for Hyperdub, where he obsessively probed subaqueous pulses and low-end modulations.


Sub Zero is possibly the most minimal, desolate, and deviant dub record yet released on Martin’s PRESSURE label. It marks the point at which dub disappears into its own effects trails. Dub music capturing frozen moments in time. Dub as an addictive painkiller, that sounds both sacred and ocean deep.

With this new remix EP, The Lovers explore different shades of disco and house through a carefully balanced and personal approach.

The opening track sets the tone with a playful and hypnotic groove, built around arpeggiated patterns and a steady modern rhythm. A female spoken vocal, instantly recognizable from Italian television culture of the 1980s, takes center stage, while a smooth saxophone line adds a sensual, cinematic layer.

The second cut moves into deeper emotional territory. Beginning with a restrained atmosphere, the track slowly builds tension through a rebuilt bassline and a solid house pulse, eventually opening into a more expansive and powerful moment on the floor.

A warmer disco-driven piece follows, focused on groove and feeling. The original spirit is preserved, while a heavier low end gives the track new confidence and presence within a contemporary club setting.

The EP closes with an elegant house reinterpretation inspired by French pop sensibility. A melancholic melodic theme and subtle references to tango shape the final moments, blending emotion and rhythm with a refined sense of flow.

A concise collection of remixes for selectors drawn to groove, memory and understated elegance.

For over two decades, FLOX has been shaping a unique musical
identity - a vibrant blend of roots reggae, dub, electro, and
nu-soul. This French-British artist h a s become a cornerstone of
the alternative scene, known for his genre-bending productions
and powerful live performances. With seven studio albums and
countless shows a c r o s s Europe, FLOX h a s carved out a distinc-
tive path, merging analog warmth with digital precision.
crédits

Repress 2026

NEOCLASH is DJ Hell's new work.
The Electroclash of the early 2000s is reconstructed here, its characteristic codes extracted and reshaped into a modern, reflective form.
NEOCLASH is a cultural experiment - music as a medium of reflection, a structure for space and time, and a vehicle for exploring the tensions between technology, the body, and perception.
Electroclash now - or a manifesto for the aesthetic relevance of electronic club music, combining strong old-school references with a new understanding.
DJ Hell, a.k.a. Helmut Josef Geier, delivers a contemporary reinterpretation of the Electroclash genre.
International Deejay Gigolo Records was the pulse of the movement 25 years ago - and Hell, its very namesake. Godfather of Electroclash reloaded.
25 years and many milestones later, DJ Hell returns to his roots with NEOCLASH, proving that Electroclash in 2025 can sound not nostalgic, but forward-thinking and visionary.
NEOCLASH builds a bridge between past and present within electronic dance culture and club music.
Italo Disco, New Wave, Indie Dance, Disco, Pop, Chicago House, Acid, Detroit Techno, and Avantgarde Music merge here into a bold new interpretation.

First & Last is the debut outing of MC D alongside his partner in rhyme Audio MC. Fresh-faced schoolboy scions of Hijack, The Demon Boyz and Silver Bullet, and peers of the likes of Gunshot, Hardnoise and The Criminal Minds, the pair were taken under the wing of The Powerlords as part of the Powerpack crew (alongside Construction and Trouble), and were given the moniker 2XDEF. Brought to the attention of South London’s fledgling dance label Mendoza Records by producer DJ Fusion, this release would mark the the beginning of a longterm creative partnership between him and MC D, with Mendoza label-mate CSP called in for remix duties. Gritty, explosive and raw, the record stalled at the white label stage with only a handful distributed to radio and club DJs, earning it the status of underground classic. First & Last became exactly that for the short-lived crew.

2026 Repress

Dasha Rush resurfaces on Sonic Groove, her fourth EP for the label and her hardest offer yet! The Russian born, Berlin based producer drops four fierce tracks decidedly for dancefloor use and abuse. Starting with some enticing meticulous and exciting EBM flavored hard beats “El Kinky” seems poised to be a summer Berlin classic, with Dasha’s haunting vox riding the groove. “Psycho Runner” simply said, is an olympic, punishing piece of acid TB303 techno that will be one of the darkest things recorded this year. Her B-sides take it a little deeper, with the hypnotic, industrial and marching in-your-face flavored sounds on “Gallic Message” and finally ‘Darkness Digital” which presents an , EBM- esque groove, with wild broken hard beats patterned underneath another ear- worm sequence. Another great release added to Dasha’s already prolific discography

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

"The duo (ino)², Walterino & Marcellino, are back. Following 'Ralf Ciao Ralf', they return with their
second tribute to the ul Alongside this track, they have included two other songs that showcase their eclec roots in underground classics. The release blends heavy old-school vibes with a fresh,
contemporary sound and groove. With 'Le Cose Belle' and 'Il Mundo Dansa', the duo explores the
space between techno and minimal, infused with late '88-'89 house influences and killer vocal
hooks."

Chicago legend K. Alexi returns to Dark Entries with K.A. Posse’s Strkes Again, an EP of preleased unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn’s personal archive. This record showcases the rawer, more immediate side of Shelby’s sound, with tracks full of overdriven 808’s, careening sirens, and dangerously funky breakbeats. “Imported Taste” brings Shelby’s signature deep pads to the front of wild congo-laced percussion. “Suckas Be Ready” is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking “Muzic Box.” Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh.

Chicago legend K. Alexi returns to Dark Entries with Warehouse Trax, an EP of previously unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began writing songs and honing his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Warehouse Trax follows with six tracks recorded in Chicago between 1991 and 1994. The material here has all the hallmarks of classic K’Alexi. Salsa-inflected rhythms, emotive basslines, and hip-house vibes are displayed on tracks like the high-octane “Jungle Line” or the low-key tearjerker “Protect and Survive.” There are also some unexpected surprises in store. “Aaaah” comes out of the gate swinging with hard-hitting beats and apocalyptic ravey vocal pads evocative of the edgier material on Saber Records or Djax Up Beats, and the surprisingly contemporary-sounding “Klub Dred” delivers half-time dub with stuttering vocal samples. Warehouse Trax comes in a retro-styled sleeve designed by Eloise Shir-Juen Leigh. This is essential material for devotees of classic house sounds.

Next up on Industry Standard we have a very unique vinyl release from Melbourne’s Ben Silver, who recently released his ‘F So Good’ EP on the label in 2025.

‘Inside / Outside’ is pressed on to a 10” vinyl, with the ‘Inside’ track being cut from the inside of the vinyl. Flip the vinyl and ‘Outside’ is cut from the outside.

Following on from his release on IS, and also his ‘Cosmic Weapon’ collab with Oliver Dollar & Boogs on Rekids, Ben has delivered two heads down, tracky cuts that are sure to take any dancefloor on a late-night trip. They are both energetic, underground tension builders that bridge the house / techno divide perfectly.

We love this release, we hope you do too.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

The first chapter of a new series exploring identity, temporality and the many dialects of contemporary techno. Four tracks, four distinct approaches, yet bound by a shared pursuit of tension, texture and transcendence.

Chronicles Diary introduces its identity with WAYF VOL1, the first entry in a series asking when, not where, this music belongs. The answer comes in four club pieces that favour impact over ornament, tracing tension, texture and a sense of forward movement.

Boyd Schidt & Uvall's "Bullet Train" is tensile 4/4, serrated hats and a tunnelling bassline pulling the room into a tight zone. Commissar Lag's "Battle Rites" ups the pressure, all offline bass and percussive rhythm. MMSS pares things back on "Aion_01," a looping, hypnotic figure that blurs time without dropping energy. Time Traveller (UK) closes with "Stud," glitched and driving, a roughcast groove that breathes between the hits. Four perspectives, one intent: functional, underground Techno that works.

pdqb, the producer whose name sounds like a coded message, has surpassed the need for introduction. It emerged from nowhere, becoming omnipresent almost instantly, leaving every electronic music producer eager - if not obsessed - to work with it. Its original tracks are raw and elegant with warm synth lines, pulsing rhythms, and melodies that feel like echoes from forgotten futures. They always carry a strange magnetic pull.
Presented here are eight stunning remixes of its already-released tracks. Each one its own universe, each one remarkable in its own way, each one crafted by an expert in their field. The eight pieces twist, stretch, break apart, and rebuild the originals. They mutate into technoid creatures, melodies dissolve into vapor, and rhythms reorganize themselves into something alien and alive, yet each still holds a faint spark of pdqb's DNA, buried beneath layers of transformation.
Listeners will understand: this isn't just a remix album. It is an evolution - eight reinterpretations of the same musical core, each pushing pdqb's world into a new dimension.

Antoni Maiovvi debuts on Sonic Groove with the four-track EP 'Subsonic Schizophrenia'. Blending Film Score, Detroit Techno, UK Braindance, and West Coast Dutch Underground, he delivers his most intense productions yet. Tracks range from the relentless 'Hard Bop' to the cinematic 'Bloodthirst' and the mutant acid 'Slig' and 'Face Dancer'.

This EP is a must for fans of cinematic, deranged dance floor weapons with deadly intent.

2026 Repress

Founded in 1988 by Frank and Karen Mendez as a vehicle for The Burrell Brother’s prolific creative output, the legendary NYC label Nu Groove was relaunched in 2021, reinstating its cult status and quickly becoming a home for genre pioneers. Today its eclectic catalogue continues to grow with label returnee Stefan Braatz delivering his ‘Planet 2 Planet EP’, a four-track vinyl release showcasing this Berlin underground authority’s deeply synthetic club sound and timeless influences, including a collaboration with Virgo Four on the title track.

Five years on from her debut on the label, Surgeons Girl returns to Livity Sound with an EP of explorative, synth-rich techno. In the time since A Violet Sleep announced Sinead McMillan's fulsome analogue sound, she's maintained a considered presence with live, hardware-rooted performance and a select handful of releases.
On A Moment To Machine EP, McMillan showcases a widescreen strain of techno that leans into the expressive, emotional weight of powerful synth composition while maintaining a fierce physicality tuned up for the club. 'Under This Space' and 'Razor's Whip' dart along upwards of 150 without sacrificing depth and subtlety, while 'Steps Right' and 'Silken Place' shelve drums in favour of cascading arpeggios. 'Rested' brings balance to the record with needlepoint rhythmic exploration and pensive pads, rounding out Surgeons Girl's ever-developing, highly personal approach to techno.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This is the second of a two-volume release which presents a selection of the best songs from Guinea's Syliphone recording label. This volume focuses on recordings from the 1970s, when Guinea’s authenticité policy had transformed the nation's music through a network of over 30 orchestras, each representing their local region, and each presenting Guinean musical traditions alongside the influences of Cuban music, jazz and funk.

STRIKER TRAXX proudly presents its very first release — STX101: BALLAN “Chantal Grooves EP”.
Born as the new sub-label of SUPREME STRIKER, itself a direct emanation of the Skylax Records universe, STRIKER TRAXX sets the tone for a new era: raw, uncompromising, and forward-thinking. As always, the visual identity is entrusted to the legendary H5’s exclusive artwork (Daft Punk, Air, Logorama), delivering a striking design that transforms each copy into a true collector’s object.

For this inaugural strike, we welcome Asaf Ballan, aka BALLAN, an artist emerging with force from the vibrant beatscape of contemporary electronic music. With Chantal Grooves EP, he delivers a 12-inch packed with five club-weapons that dive deep into the essence of house and tech house, reshaping them with his own relentless, pumpy twist.

The trip opens with “How Should I Start”, a perfect ignition, teasing anticipation while locking you instantly on the groove. “Goddamnit (Club Tool)” follows as a pure machine workout, echoing Kerri Chandler’s house foundations while pushing them into today’s territory. “Members Only Club” exudes exclusive sophistication, a secret-weapon built for late-night dancefloors. On the flip, “Keep the Frequency Clear” hypnotizes with razor-sharp frequencies, proof of BALLAN’s sonic craftsmanship, before “Futuro” launches us headfirst into tomorrow—where innovation collides with the Romanian sunrise aesthetic, infused with a heavier, raw energy.

Influenced by the minimal masters (Zip, Ricardo Villalobos, Raresh) yet unwilling to compromise on drive and power, BALLAN delivers here a record where every track stands as a killer. Chantal Grooves EP is both a homage to the roots of house and tech house, and a manifesto propelling the genre into its next evolution.

STRIKER TRAXX launches with a statement: this imprint is made for DJs and dancers who still believe in vinyl as a sacred object and in the dancefloor as a transformative space. With H5’s exclusive artwork (Daft Punk, Air, Logorama)and Skylax’s uncompromising vision, each release is conceived as a weapon for the underground, and a jewel for the true collectors.

Vinyl only. For devoted believers.

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

Cindytalk has remained a majestic proposition over the decades, one marked by a continued process of disintegration and regeneration. Change has been a constant for Cindytalk, as has been the presence of the Scottish musician Cinder, who has fronted the project since the early '80s. The first Cindytalk albums embraced a dark theatricality of post-punk dissonance and abject rock deconstruction that coupled industrial dirges with Cinder's beatific vocals, these same vocals that were once plied to the earliest This Mortal Coil and Cocteau Twins recordings,forever binding Cinder to the 4AD lore. But even on those albums, Camouflage Heart and In This World, Cinder was pushing the band to embrace the studio as a tool for further abstraction of sodden drones, cobwebbed dark elegance, and decayed textures.

By the early aughts, Cinder had reimagined Cindytalk through the granular processes of digitalia with a handful of equally celebrated works of glitch-born expressionism for Editions Mego. Cinder explains that "those elements were growing roots under our sound and had started to organically change the shape of what we were doing. The fucked-up rock music was in retreat and the electro-acoustic abstractions were becoming apparent. Fast forward to the early part of the 21st Century and my first laptop. It seemed natural where I needed to begin that part of my new sonic journey. To further explore those and new territories. Sunset and Forever is intrinsically connected to what came before."

Sunset and Forever is a labyrinthine opus, one that returns to the themes of the sacred and profane that have rippled through all of Cindytalk's recordings, albeit in various guises. The opening track "Embers of Last Leaves" is a haunted piece of undulated, cyclical tones that entwine into a sorrowful chorale with Cinder's own voice. Thumps of electronic drum kicks and bass drops dot the apocalyptic menace of "Tower of the Sun" but serve not as a rhythmic grid, but as painterly noises that further disrupt and disturb the machined dissonance. A cinematic radioluminescence blooms from the tempered electronics within "For Those Eyes, Shadows Of Flowers." The finale "I See Her in Everywhere" bookends the opening number with a seemingly human chorus build from electronic tones cast in cathedral reverence. Sounds throughout may appear adjacent to those of Fennesz, Holly Herndon, or even Lovesliescrushing from time to time, but Sunset and Forever remains purely Cindytalk.

Cover designed by Chris Bigg, known for his iconic design work for 4AD. Mastered by James Plotkin.

Category 1 Music Sampler - Vol. 4 represents a unique blend of contemporary house music’s most influential and respected personalities. “What I Want” showcases the remixing wizardry of Eric Kupper, who has worked with numerous superstars including Usher, Alicia Keys, Donna Summer & Miley Cyrus; along with the producing genius of Chicago’s great house trailblazer, Ron Carroll. “Call Me” showcases a multi continent contingent of musical talent from the UK, South Africa and the U.S. combining to deliver a soulful house gem that’s highlighted by Stacy Kidd’s distinctive Chicago influenced vibe. Joe Smooth, another Chicago house legend, lends his deep house sound to the appropriately titled, “Soul Deep”, featuring the classic vocals of Ed Ramsey coupled with Sweet Georgie’s impeccable production.

Concluding this house music journey is Ron Carroll’s “Underground”, a Garage banger that’s the creative concept of Marc Cotterell, 1 of the leaders of the U.S./UK Garage genre. “Underground” is the perfect way to end another Category 1 Music house excursion.

2026 Repress

Originally from Malaga but a Berlin resident for the past 13 years, Carlo is thrilled to unveil his first album released under his own record label, Bisiesto. This label stands out for its unique approach, releasing just one album every four years on leap day, February 29th. In contrast to his previous style, this album blends all his musical influences into a unique mixtape of instrumentals.

Reminiscent of Nightmares on Wax, Kid Loco, and Mushroom Jazz, this album offers a unique auditory experience. Lora Ute brings a hint of tangy mellowness to ‘Because’ balancing dreaminess with playful notes, while Jose Fernancaster, with his immaculate guitar skills, infuses ‘Todo Mal’ with sexy guitar riffs and wahs. Intr0beatz's hip-hop touch enhances ‘Lemon Haze’, while Black Loops, a percussionist at heart, collaborates on ‘Midnight Cruiser’ to encapsulate the solitude of night-time city cruising with a lo-fi sound. Piek rounds off ‘Esperanza’ with an empowering bassline, tying the track together with a golden ribbon.

Minor Notes continues to explore and open up the world of Russia's underground electronic scene. The new vinyl release is a collection of original works by the highly experienced Kaluga-based music producer Chivee Gres. The record perfectly showcases the sound of Deep House and Jackin, showcasing Nikita's subtle sampling, masterful arrangement, and deep knowledge of production techniques. This music is made for the dancefloor: Side A is the perfect companion to any warmap, while Side B will brighten up primetime with its bouncy sound.

Elfenberg nurtures four meticulously crafted progressions, a digital pet project draped in velvet grooves. Evolving with the patience of luxury craftsmanship and the addictive glow of a pixelated companion, feeding hypnotic cycles into transcendent dancefloor rituals. This is where underground devotion meets haute couture electronics. Press play, watch it grow, never let it fade, let it consume you.

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

After the excellent response to the first volume, Acid Jazz Classics returns with the second volume.
The Acid Jazz sound born in the 1990s, which harked back to the Soul Funk of the 1970s, found in IRMA one of the labels most dedicated to
this world, and still releases music that can be categorized under this name.
From songs from the 1990s with artists like Jestofunk, Bossa Nostra, Black & Brown, Gazzara, Italian Secret Service, LTJ Xperience, Sarah
Jane Morris, to the present day with artists like The Smoke Orchestra, Yuts and Culture, Fusion Funk Foundation, Micky More & Andy Tee,
Belladonna, and many others.
19 tracks on a double vinyl, some of them never before released on vinyl, all rigorously perfect for both the club and listening.
In fact, some tracks are little club gems:
"Say It Again" by Jestofunk in its very first version from 1993;
Belladonna - Black Jazz, one of her most requested songs ever released on vinyl;
Key Tronics Ensemble - You For Me, the Montuno Salsa version performed for years by Little Louie Vega at many of his gigs;
the Micky More & Andy Tee remix of Sarah Jane Morris's Hold On To Love!

Calder City Development Corp. returns from Detroit with CCDC008 “Body Remembers EP” by Chicago Skyway, a raw, emotional slice of pure Detroit house energy. This is that unmistakable blend of swing, grit and soul: dusty drum programming, deep basslines and chords that feel both melancholic and hopeful at the same time. It’s music that taps directly into the body – the kind of grooves you feel in your chest before you even realise you’re moving. “Body Remembers EP” fits perfectly into the Calder City Development Corp. universe: deep but direct, underground but timeless. This is finest Detroit house designed for concrete basements, smoky backrooms and all those moments when the lights are low and the crowd is completely locked into the groove.