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Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

While the older numbers are much sought after on Discogs, Andrea Passenger digs deeper into the best shades of disco, afro, boogie and funk to deliver the 10th release on the highly revered Light Touches Records.
On A side, “Roots” is a relentless disco tune for incendiary peak times, while “Psych Afro Roller” keeps faith to the name going into crazier territories. On the flipside, “New Dance” adds some boogie tones and quirky synth arrangements, while “Feel The Feeling” rounds things up with its moody and deeper vibe.

All tracks have been carefully edited by Andrea Passenger without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

12” limited to 300 copies (no digital).

Adam’s Bite label manager Martinesuqe delivers his new EP ‘Curtain Call’ this November via the label, comprising two original compositions and one instrumental mix.

Basel, Switzerland’s Martinesque has been etching his mark into the underground over the past decade through releases on Adam’s Bite and as an integral part of the Swiss scene, heading up the bookings of the widely beloved Elysia club on his home turf up until 2023.

Here, Martinesque makes a welcome return to Adam’s Bite following on from his debut album ‘Think Outside The Box’ on the label in 2023.

‘Drama’ leads the EP and sees Martinesque lay down twitchy synth lines, squelchy acid bass tones and resonant flutters alongside spiralling dub echoes, murky vocals and crisp, shuffled drums.

The ‘(Instrumental)’ version of ‘The Final Hour’ follows next, shifting gears down to deeper realms courtesy of airy chord sequences, intricate off-kilter percussion and gritty bass notes all dynamically nuanced throughout. Lastly the ‘(Vocal)’ mix of ‘The Final Hour concludes the package, introducing a hypnotic spoken world vocal to the composition

Taken from their 2012 CD-Only debut EP, "ETHEREAL", burst NOVA HEART onto the Beijing indie scene with their glittery, effervescent synthpop sound. The CD only release did not see much distribution outside of China and now appears for the first time on vinyl care of ALLIANCE UPHOLSTERY. Remixes from RODION (SLOW MOTION RECORDS, GOMMA), IVAN BERKO (LOVE ON THE ROCKS, SONIC DREAM RECORDINGS), MAGIC WORDS (RAZOR-N-TAPE) and ITALOMATIC (FACETS, ANDI AND ROK ONE) take the track in deep house, Italo and other more dancefloor territories.

With autumn around the corner, Shiffer is back on Innervisions. His latest EP seamlessly bridges peak-time club anthems and home listening experiences with a softer touch. The lead track, "We Care," highlights his ability to blend emotionally charged sounds with functional elements, driven by the vocals of Berlin’s Paul Brenning. Already featured in Dixon’s recent Cercle set, as well as a couple of other special opportunities, this track is a breath of fresh air and a standout collaboration that sets the tone for the EP. "La Libertad" captures an unmistakable vibe, blending the samples and synthesizer elements with a little bit of dust into a distinctive tool. Known from sets by Kristian and Trikk, "Tasting Darkness" lives up to its name, serving as a true dancefloor powerhouse. The EP concludes with an acoustic rendition of "We Care," gently highlighting Paul’s vocals as the storm slows down. Enjoy

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

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

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

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

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

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

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

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

Mark Broom and CJ Baker team up as Kingpin Cartel on Rekids for the The ‘Long Dark Soul Of The Night’ EP

Kingpin Cartel, Mark Broom and CJ Baker’s joint House alias debuts on Rekids this November with the ‘Long Dark Soul Of The Night’ four-tracker. The EP starts with the title track, a playful, funk-fuelled cut with squelchy licks and soulful keys. Next, Kingpin Cartel’s ‘Moonrise’ leads with strong percussion that lay underneath a smooth swinging piano riff. ‘You Are’ then dives deep, perfectly blending emotive synth chords with an undeniably weighty house beat before ‘Shakedown’ closes the ‘Long Dark Soul Of The Night’ EP with a quirky synth line and an infectious bassline that firmly keeps it old-school.

Mark Broom is a UK dance music legend with releases on labels like Warp, M-Plant, and Hardgroove. He returns to Rekids as one of its core artists, joining CJ Baker, a producer known for EPs on Innervisions, Emissions Lo-Fi, Well Rounded, and many more. Founded in 2005, their Kingpin Cartel alias has released on Nic Fanciuli’s Saved Records as well as Mark Broom’s Rewired, Pure Plastic, and Beardman imprints, now landing on Radio Slave’s flagship label with the ‘Long Dark Soul Of The Night’ EP.

Nummer Music are proud to present the first reissue of Paul Mahoux’s seminal BùLù project.

The Parisian (now Okinawa-based) producer released “Silicon-Shepherd / Senegalese-Sharpshooter” 30 years ago today on the french label Virtual.
Both cuts give a unique insight into the sound of the early Trance scene and travel beyond the boundaries of Techno & House. Whether you’re revisiting the past or experiencing them for the first time, they still stand as a testament to the free spirit of the early ‘90s.

On side A, the bouncy Silicon-Shepherd shows off BùLù’s singular sampling techniques: chopped up vocals, tripped out synths and a touch of M1 slap bass take you into unexpected peak-time territories, where euphoria meets deep mind-travelling (i.e. DMT).

On the flip, Senegalese-Sharpshooter unveils another facet of BùLù’s buoyant universe. The french producer slows down the pace and invites the listener on a magical meditative journey, the lullaby-like theme tune shacks up with ancient traditional instruments and mystical choirs, again freed from any sort of constraint of style or genre.

On remix duties, Nummer’s very own E-Talking gives Silicon-Shepherd a club lift while our beloved Caldera injects Senegalese-Sharpshooter with a heavy dose of his signature swampiness.

REVOLT proudly presents its latest release, a powerful 4-track EP by Liou, recorded in his Athens studio. This limited vinyl-only release showcases Liou's signature blend of diverse sounds and influences, seamlessly weaving unexpected twists with rich sonic textures and immersive atmospheric soundscapes.

Night Warrior kicks off the EP with punchy basslines and epic vibes, enhanced by acid and cosmic vocals, perfectly crafted for peak-time dancefloor action. Dark Matter delves into a breaks workout, creeping up your spine and taking control of your movement, making it a secret weapon for any DJ set. With Atom, Liou offers deeply electrifying rhythms infused with twirling acid riffs and raw emotion, a track that resonates on a profound level. Equinox rounds out the record with energetic dreamy synths, ideal for those early mornings. Music destined to unite bodies in the rave zone.

Comes with a color-printed tracing paper poster designed by Angeriki, inspired by the paradox, the freedom of thought and the twisting of perception.

Humanoid continue their push to shine the spotlight on up-and-coming artists and the fifth instalment on the label comes from another Liverpool local on the rise – Brent, with a powerful release bringing synthwave sensibilities and driving basslines to the forefront - taking you on a sleek, high-octane journey through a polyphonic landscape.

Juan Ramos is back on BLESSYOU for another round of club specialised tracks. Starting off at a solid 126BPM on the A side, "D2" comes in with a threatening drive bound to cause ruckus on the floor, tripped out vocals used in percussive manner, gung ho drum samples intertwined with a very motivated bass line. "D3" takes a less synthetic turn with the presence of strings and congas juxtaposed with euphoric female vocals. "Collide" slows down and dives into more industrial sounds but could also very well be the background soundtrack to a leather daddy belly dancing instructional video. Overall a pieced up melange of precisely placed elements, reflections of his deepened experiences on Berlin club floors over the last decade, an effortless display of his studio prowess is well at work. No regrets. Mixed by his "Green Vision" project partner in crime, Trent.

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

Two And Half Records returns with the third Release!

We are thrilled to announce the release of our new V.A., Each artist brings their own unique style, resulting in six tracks that are distinctly different from each other.

French producer Akyki, opens the DANCE with a wicked funky beat and catchy sounds. His music is a real injection of good vibe.

Cene & Esqueena, this Italian duo continues to make us dance with energetic Synths, captured during a live jamming. Every note is a pure groove feeling.

The young french talent HRM concludes the DANCE side with edgy electro sounds and seductive vocals, perfect to spice up the dancefloor.

Alex Vincent, German producer opens the LISTEN side with a mix of gentle electro sounds and IDM influences, sweetened by warmly snuggly melodies. A deep journey of sound to be shared intensely.

Jonny3snareS live performer from the UK, invites us to “escape” into a parallel dimension with his magical music, Synths and Drums run hand in hand harmonizing perfectly.

Foreign Sequence, from France, concludes with an IDM track with full and powerful sounds enlivened by delicate acid melodies. It is the perfect ending that encapsulates all the emotions of this EP in one track.

This Summer The Florentian Cabaret showcases his sound once more as he explores new creative avenues with the launch of his own eponymous label. The label will give the thriving Italian talent a chance to showcase the full spectrum of his sound with no boundaries, sharing all of his refined tastes, and influences he has absorbed over the years. The “Space. Time. Gravity.” EP features four classy cuts, timeless trips inside the mind of The Florentian Cabaret.

Playful drum patterns lead the way in the title track, conversing in harmony with the nostalgic 80s synths, teasing you down an animated path of disco leaning house energy. Emotional textures crafted for the dance floor moments. “Stairs On Mars” is built upon an underground energy of time gone by, slick hi-hats drive the track in combination with a raw and rugged bass, nodding towards the heydays of rave. Distinct and progressive peak time movements steering the release into an alternative direction.
“Rocket’90 leads you down a pacey path of low end paradise, in combination with spaced infused acid tones. A transition track for when you want to switch things up, and steer the dance floor to new heights. Hypnotic as it moves, progressing into classy peak time action as the atmosphere continues to simmer. Next up we have the aptly named “Stars”, as this pulsating and driven track will take you exactly there. Nostalgic drums maintain a steady and transcending groove, conversing with the mechanical pads and synths which spiral around the heart of the track. Constructed for the rave, and the tastemakers of modern dance music!

We are proud to bring you part II of the CEP VA series, featuring six tracks that span a wide range of genres. Each track brings its own signature to this release, making it truly one of a kind.

Beta.V opens the A-side, fusing self-sung vocals with multiple synths that harmonize beautifully together to create a timeless track. This is followed by SWART's 'Eternal Raver', much akin to old-school trance thanks to hypnotic synths and dreamy textures creating a meditative state. A3 introduces ETERA’s 'Classic Shit', a dancefloor weapon with stomping beats and crisp, background drums signaling the signature sound of ETERA himself. On the B-side, SZG stands out with its gated synthline, pounding bass, and catchy vocals from Brazilian MC DDSV adding that unique energetic spin to this release. DJ HENNE’s 'Roboter' on B2 is a hard house slayer featuring a deep mid-track breakdown and self-sung vocals - a DJ HENNE classic. Wrapping up the release, Pōnky combines groovy, funky plucks with a smooth finish, closing the EP out on a playful note.

'Pursuit Of Change' drops via CEP Records on 29th November 2024.

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

The world was a different place in June 2020. Most of us were coming out of a first lockdown and accepting limitations, new fears, and changes in our lives. There was some hope things were going to be better, optimism in the summer, a new beginning. For some, like Molero, it was. He released his first album in June 2020, one he had been working on over the previous years. “Ficciones Del Trópico” felt like a discovery, the synths approached a new world, raw, full of wonder, fresh. It was the sound we needed, the horizon we were longing for.

Four years have passed. Molero spent most of that time thinking about and creating the music for “Destellos Del Éxtasis”. If “Ficciones Del Trópico” lived in the depths of the Amazon jungle, “Destellos Del Éxtasis” releases itself from a physical location/idea and creates upon symbolism and the abstract. The more we listen to it, the more we get lost in how he created music that is shapeless, no angles, constantly morphing, transforming into something else.

Like magic, alchemy, but also like visions, hallucinatory visions, or dreams if dreams could step out into reality. And the more we get lost, the more we are convinced the music from “Destellos Del Éxtasis” is part of us, of our body, present as a permanently passing cloud. It gets into dark places, moving constantly into new ground, testing feelings, emotions and how they gravitate with sound. There’s something different in each track. Like magic. Not magical music (but there’s an argument for that). We prefer music for magic. Ritualistic, celebratory, transformative and increasingly visual. Close your eyes, it will open your perception. Follow the ecstasy, let yourself go. The reward is here.

Stellar Systems, the latest imprint from the Rings of Neptune crew, readies its first release, "Archived Dreams" — a four-track EP signed by Berlin-based techno luminary Michael Melchner. Drawing influences between electro-charged techno and IDM-tinged minimalism, "Archived Dreams" explores cosmic, genre-blending themes through high-octane machine funk and tons of atmosphere. Crafted with pure analog equipment, the four tracks of the EP capture Melchner’s dedication to pushing sonic boundaries while channelling the raw energy of 90s electronic music.

The EP opens with 'Archived Dreams' (A1), a powerfully hypnotic track of pulsating drums and mesmerizing melodies, layered modular sequences and subtle percussion, setting an entrancing tone. Decollage (A2) dives into breakbeat territory, balancing intricate, syncopated rhythms with deep basslines and shimmering synths. On the B-side, Berlin Phenomena(B1) delivers a groove-laden, robotic vibe—a testament to Melchner’s knack for crafting infectious, funk-inspired rhythms. Closing out the EP, 'OE Underground' (B2) ramps up the intensity, blending raw, mechanical beats with intricate melodic threads to create an entrancing, slightly euphoric finale.

Stellar Systems emerges as an exciting extension of the Rings of Neptune collective dedicated to explore electronic music's rich sonic landscape. From deep, leftfield groovers to dynamic dancefloor stompers, Stellar Systems aims to capture a galactic range of sounds and styles. Michael Melchner, with his body of work — spanning solo projects and collaborations like Omega Men — and his esteemed reputation in the underground techno scene, aligns perfectly with the label's ethos.

Through emotive ambient textures, granular synths, and field recordings, rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation.

A release show is scheduled in De Minard (Ghent, Belgium) on November 13.



Electroacoustic composer claire rousay (US) has announced her upcoming album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.



Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.



The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.



‘The Bloody Lady’ is set to be released on November 8 via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene.



The record comes with an extensive booklet including liner notes.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Drumcode welcomes another debutant to the label, as Metodi Hristov unveils his stunning ‘Build to Destroy’ EP. The Bulgarian DJ/producer has been building a solid body of work stretching back a decade, releasing quality drops on labels including Terminal M, Octopus and Filth on Acid, meaning he’s long been on Adam Beyer’s radar. Drumcode, in turn, has always been a goal label for Hristov to release on. He explains: 'I’ve always wanted to release on Drumcode, but it was not a fixed plan till October last year when I fully embraced the idea and nailed it with my heart and mind. I ended up in a long three-month studio session from which I extracted some of the best productions I’ve made in my career.' He wasn’t wrong. The EP leads with ‘Flatline’, a straight up sexy techno track with bags of groove and charisma, driven by dreamy synth lines and an arresting vocal, while balancing silky and punchy elements with a deft ease. ‘Build to Destroy’ is a bulldozing beauty that fires out of the starting blocks with plenty of low-end energy, before moving into a succession of atmosphere-laden bass stabs and effects of varying rhythms and intensity. It’s a dynamic cut that piques interest to the end and a very solid addition to the Drumcode discography.

Elektorni, based in Oulu, Northern Finland, lands with their second release, this time with three original cuts from the singular Finnish legend Mesak (Klakson, Orson) and a mesmerising remix from Århus-based Picture (Help Recordings, Kalahari Oyster Cult), who you might know from many different aliases as well.

The a-side opens with Mutella, a slapping electro track dripping with gothic emotion and powered by a growling bassline. Next up is Ei Damagea, a smooth slice of electrohypnotism calling to you from an otherworldly dimension inhabited by floaty rhythms and quirky synth stabs. Flip the record, and Mesak flexes his versatility with the 155bpm piece Musantropia, cruising top down and top speed somewhere between IDM, d&b and electro. Fresh! The journey ends with Picture’s remix taking Musantropia deep into an eight-minute techno meditation reminiscent of Basic Channel material, but with an Århusian take on the sound.

A bass heavy record with intricate detail, this is a release as ready for the club as it is for your home hi-fi system.

Bordello A Parigi is delighted to announce the return of Ichisan to the label.

The Slovenian producer draws on the soul of house, the clean lines of electro and smoky grooves of disco for Saturnus. Full-bodied percussion lays a path for curves of keyboard to mingle with throaty basslines, cosmic constellations blooming and bursting in this nine-minute odyssey. Off-kilter keys steady themselves into solid strings for “Rodeo Disko”, bubbles of funk rising to the surface as distant vocoders echo to the distance. An appreciation of the meandering melodies of the late 1970s permeates the three offerings. Percussive patterns shift with “Fujirama”. Droplets of drums gather to a racing rhythm, a spiralling synthline speeds while a thick dauby bass calms the tempo. This close is emblematic of the entire EP, clever and upbeat with an underlying intricacy that illustrates Ichisan’s evolution as an artist.

A welcome return from a wonderful talent.

Spanish duo Los Suruba have done it all over the last 25 years, captivating dancers with their blend of House, Minimal, Electro, psychedelic, and deep vibes.

They have established their own network of record labels, with almost 250 releases, Nazca being the latest addition. They’ve also released music on labels like Crosstown Rebels, Diynamic, and Get Physical and have been remixed by international artists such as Solomun, Adriatique, Clarian, and Okain. They describe their music as "Memories of the Future," the motto of their brand Nazca.

As DJs, they’ve performed at the world’s best clubs and festivals, bringing their unique sound across the globe, holding residencies from Ibiza to London, and creating countless underground hits.

They are in top form once again with this latest journeying EP, where Los Suruba and their label Nazca return to vinyl releases, featuring two new remixers for this vinyl edition of the ‘+33 EP’.

Innovative opener 'Dial Banger' is a wonky house sound with wet claps and a gurgling bassline that gets ever more wild. It's a playful cut that teases and pleases in equal measure as the low-slung grooves, string stabs, and unhinged leads keep dancers locked.

'Elegancia La de Francia' is a more experimental house affair with eerie synth leads and freaky filtered vocals, making a dark and menacing atmosphere.
Warm melodies infuse the track with soul and make it perfect for the late-night hours.

First remixer Cristina Lazic launched her own label La Zic, earlier this year. It's a platform that looks to uplift and mentor exceptional female talents next to the Italian's own blend of minimal, deep and tech house sounds. Her fantastic take on 'Elegancia la de Francia' is stylish and stripped back with supple minimal drums and the muted synth sounds bubbling away over punchy kicks.

Romanian artist BRYZ has a refined minimal sound that has established him in the European scene over the last decade. He deals in intricate melodies, pulsating rhythms, and atmospheric textures on labels like Storytellers and Esente Records.

His version of 'Elegancia la de Francia' is silky and deft, with sustained pads locking you into a trance while gurgling bass and trippy melodic motifs add great detail to the rolling minimal house grooves.

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone.

Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all."

Building up a head of steam, Ace Vision returns on the heels of his Raising Awareness EP.

For Shaped Mind, the Italian artist is exploring new musical avenues. While his musical essence, glow and style remain, a darker dancefloor palette is employed on the release. Polyrhythmic patterns race in the sample strewn “Second Phase”, rumbling waves and warehouse echoes tempered by swirling stabs. A bouncy liquid groove ushers in “Nu să Chan”, rasping beats shrouded in smoky bass while bars bend around an assortment of textures and tones. “Katana Cut (Trance Mix)” conjures up images of dancing bodies waiting for the dawn. Melodies circle percussive layers, meandering undercurrents of acid bubbling beneath shimmering synthlines. The finale comes with “Mixage Électronique.” Steady kicks and crisp cymbals give way to juddering chords, clean keys and snare rolls countering to a close.

Moodena’s London-based imprint Tropical Disco’s latest offering is a shimmering journey into the heart of the underground, blending nu-disco, classic house, and contemporary electronic funk in a way that feels both nostalgic and totally fresh. Featuring four standout tracks from Vagabundo Club Social, Scruscru, Da Lukas, and Fun Kool feat. vocals from Bcleo and Anna Dee Tee, — the EP is a testament to the evolving sound of the dancefloor, where groove meets grit, and melody flirts with sultry rhythm. This release channels the spirit of sweaty basement parties, neon-soaked nights, and a collective desire to get lost in the music.

Opening the record is Colombian duo Vagabundo Club Social, presenting Latin-soaked funk colliding with shimmering brass instrumentation, creating a deep, rolling pulse that invites movement from the first beat. 'Zumba Z' is a track that feels right at home in a DJ’s warm-up set or closing down an all-nighter, with a hypnotic flow and vocals that seep into your bones.

Scruscru’s story pushes things deeper into late-night, cosmic territory. 'Konyaalti' is a lush, sun-drenched production, utilising sublime sax, Scruscru delivers a cut that's both playful and distinctly driving.

Da Lukas adds a sophisticated touch, remixing Rosario Cristofaro, and taking you on a slick ride that leans into Italo-disco influences. Swooning synths and crisp percussion form the backbone while gliding melodies create a sense of elevation. It’s elegant yet laced with energy, ideal for a peak-time set where the vibe is euphoric but refined.

Rounding off the release is veteran DJ and producer Gerardo Cinquegrana, whose playful Fun Kool moniker belies the serious funk he delivers in his production. German-born, and now Italy-based, Fun Kool’s sharp, syncopated rhythms and sexy vocal lines from Anna Dee Tee bring an irresistible groove to the forefront, with the kind of bassline that takes over your entire body and mind.

Altogether, 'Tropical Disco Volume 28' encompasses a record that’s both familiar and exploratory—rooted in the timeless grooves of disco and house but pushing forward into new musical territory and picking up sonics from different continents along the way. Whether you’re looking for late-night celestial cosmosis, sophisticated Italo-inspired dubs, or straight-up, no-nonsense funk, this release has something for every dance floor.

Following his debut on Planet E Communications last year to release Art-O-Fact, New Jersey-born and-based house music legend Junior Sanchez now teams up with longtime friend, label boss and techno icon Carl Craig for a brand new Remix EP. “Art-O-Fact (Detroit Remix)” injects the futuristic sound of Carl’s hometown, the EP also includes a ‘Beatless’ mix and a ‘Bass’ mix, which split the new Detroit Mix directly in half, with one focused on melody and the other on rhythm.

Sanchez initially brought “Art-O-Fact” to Planet E with Detroit in mind. “I loved so many records by Carl Craig, Derrick May, Kevin Saunderson, and Juan Atkins,” he says. “I let my inspiration guide me, and I thought about that city—what it meant to me and what techno meant to my heart.” To fully connect the dots, Carl Craig has hopped on the remix, reinforcing the eclectic synth work with a heavy new groove, a gritty bass line, and subtle, shadowy synth melodies. The result is a fortified connection between two scenes and eras that sonically toes the line.

Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.

On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.

Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.

It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.

The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”

That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”

Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.

Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.

Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.

Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.

Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“

Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“

After solidifying its presence in the electronic music scene, 'Anva' returns with its fourth release, featuring a collaborative effort from Tagir & Indigo Minds. Meditation Dance EP explores the balance between minimal house and tech house, offering four original tracks that traverse atmospheric soundscapes and punchy rhythms.

'Meditation Dance' opens the EP with a deep, rolling bassline that gradually unfolds into a hypnotic groove. Layered with subtle textures and rhythmic nuances, it invites dancers into a meditative state while keeping the energy moving forward. 'Bandit' shifts the momentum with tighter percussion and playful melodic accents, creating a steady groove that’s both engaging and dynamic.

On the B-side, 'Donut' introduces intricate sound design and spaced-out synth work, maintaining a relaxed yet detailed rhythm that adds depth to any set. Closing out the release, 'Jack' brings a bouncy and upbeat vibe, with sharp beats and a syncopated groove that injects playful energy into the dancefloor.

The Meditation Dance EP offers a versatile selection of tracks, perfect for DJs who seek to mix minimal precision with engaging rhythmic flow.

Emerging producer Très Mortimer dishes out eight huge heaters on the highly-anticipated ‘M1 City’ release, a dedication to the mighty Korg M1, coming to Seth Troxler’s Slacker 85 on 25th October.

Kicking off ‘M1 City’ is the simplistic, but refined and booth-rattling ‘Work That Body’. A crisp M1 stab is the main character in this, amplified by thunderous and high energy drums.

Then there’s ‘Secrets’, a house jam inspired by the likes of MK that utilises TR-909 drums, a subtle rolling bassline, intimately whispered and soulfully sung vocal shots, and, of course, classic Korg M1 synth stabs. Together with dramatic contemporary builds, a highly danceable house smasher is formed.

‘No More’ is pure gasoline for the dancefloor. Très pairs another barrage of clean M1 stabs with a rousing vocal sample that leads into, with the help of a rolling snare, another highly effective house drop. Following the extremely saucy ‘Big Daddy’ skit, we’re dropped straight into ‘One Of Those Nights’, a show-stopping track complete with cutting, sharp stabs, a bulging bassy synth and a West Coast-esque synth sound.

‘Bitch I’m From Chicago’ feat. Gleebz is, as the title suggests, a dedication to the city where house music found its name. Batting off all the poser cities like LA and Miami in the sassy lyrics, it embodies the spirit of Chicago with hefty kick drums and weighty chord stabs.

At the tail end of the release, ‘Let Me Go’ and ‘Love’ (featuring vocalist 7000 (7K)), bring things to a rousing emotive close. Both tracks see Très put clean vocals over piano riffs, giving off differing moods – the former is euphoric, the latter melancholic. Synths bubble beneath, and each track funnels their own respective house grooves, resulting in two tracks fit for both the dancefloor and headphones.

Très Mortiner explains: “The M1 sound is classic. It automatically transports you back to those timeless house songs that never get old. For me, house music is all about connection. People experiencing a little moment of euphoria together when they hear a riff that they all know on the dance floor. That’s what it’s all about. With this project I wanted to tap into that 90s rave sound and spirit. I wanted it to sound like the OG Chicago rave scene.”

“M1 City is my first project to be released on vinyl. I think vinyl is very much alive. It’s essentially for music connoisseurs now. I don’t expect people to have a vinyl collection when all music is always available to everyone on their phones. Nevertheless, I love the idea of some random DJ finding this record in a shop in 10 years. Who knows what I’ll be producing then?”

Très Mortimer is a key figure in Chicago's house scene, steadily building a strong following with his no-nonsense, dancefloor-driven sound. Drawing inspiration from his Polish roots, Trés has signed with major labels like Mad Decent, Insomniac’s IN/Rotation, and Ministry of Sound, while also launching his own imprint, Optics Records. He made his mark with a clever rework of Zombies' 1968 hit ‘Time Of The Season’ (1M+ streams). Standout releases include his downtempo collaboration with plumpy, "BAMBU," and his latest single, "At Night I Think Of You," which was recently given a remix makeover by Seth Troxler and Nick Morgan.

Slacker 85, launched in 2023, is the record label behind ‘M1 City’. Founded by Seth Troxler, it aims to give a platform to "oddball, esoteric and diverse sounds," positioning itself as a counter to the polished, refined dance artists dominating the scene. Troxler, upon the label’s launch, declared that he wanted to create something for "the anti-hero, the kids who could have done it but didn’t care to try”—essentially, "the slacker." So far, it’s delivered a range of releases from artists like Jackmaster, Danny Daze, Dan McKie, and Andre Salmon, offering tracks rooted in house music's past but evolving within its present boundaries.

‘M1 City’, this ode to a piece of gear that consistently finds itself at the heart of house music history, highlights Très Mortimer’s respect for and knowledge of the scene and its key gear. Trè combines this admiration and inspiration of house music’s greats with a modern sensibility, resulting in eight tracks worthy of today’s dancefloors and today’s ravers.

Bringing stark dread bass vibes like no one before or since, Mars89 makes a welcome return to Sneaker Social Club with another four-track script flipper.

Since he first surged onto the radar with some incisive moves on Bokeh Versions back in 2017, Masayoshi Anotani has deployed a raw, non-conformist kind of bass music that's minimal in spirit but packing incredible weight where it counts. It draws parallels with weightless grime, but swap the woozy square wave synths out for fierce industrial textures and dystopian bleeps, and maybe you're halfway there.

Following on from 2022's Night Call and a collab LP with Seekersinternational on his own Nocturnal Technology, Mars89 is back with an EP which takes on new sonic dimensions without losing the persistent moodiness that makes his shadowy sonics so compelling.

'No Control' feels the most in line with the earlier Mars89 work, creating a back and forth between an upfront grime-y synth lick and blown out bass notes. The space around the notes is as vital as everything being played, creating a tension that doesn't let up no matter how much the brittle percussion rattles.

'Sonar Breaks' feels distinct as it drags a sticky drum loop through the dirt until it comes out positively caked. That leaves plenty of room for the bleeps up top to cut through the mix with devastating clarity, and Mars89 needs nothing else to make a taut piece of soundsystem Semtex.

'Hydra' continues to draw influence from jungle while taking a sideways approach to breakbeat edits, finding a curious groove in angular drum science before a stark arpeggio locks the track down. It's another hint at the different tools being reached for on this EP, brought into the Mars89 methodology and bent to his particular will.

'Still Dreaming' closes the EP out with an evocative sample from a sci-fi blockbuster and a spiralling sound bed of synth lines and break shards. While the track lands softer than its predecessors, the dense mix whips up a claustrophobic allure comfortably aligned with the overall intensity of the record — an intensity which is wholly unique to Mars89 and his maverick manoeuvres in the field of contemporary bass music.

If ever a producer could be hailed as the true heir to New York's storied house music throne, it's undoubtedly Mike Terra—and his new, seriously weighty Rhythm of Love EP on Nat Wendell's Depths imprint is a testament to that in strides.


The EP begins with the peak-time infectiousness of A1 "7th & C," setting the commanding tone for what's to come. The fittingly Big Apple-titled A2 "27th Street (Dub Mix)" follows, a rollicking shuffler whose fat kicks, stabbing synths, and snapping cymbals recall Johnick's steamier cuts. New York in the 90’s is indeed the frame of reference for this EP, and the B-side finds Terra doing what he does best: creating bumping, stomping, and uplifting must-have workouts for the floor. Whether you prefer the swarthy slapping, Todd Terry-esque groove of title track B1 "Rhythm of Love" or the conga-driven, deep-padded chunk of late-night house that is
B2 "City Got You Trippin'," a late-night jam crafted for those still standing, both tracks are bound to find their places in the record bags of DJs—and heads—worldwide.

Electro bass cyperpunks from down under, Assembler Code & Jensen Interceptor, team up again for "NRG LVLS" on TRUST. Four heavy-duty tracks might overclock neural interfaces with drilling synths, twitchy funk and high-pressure electro rhythms. Welcome to the Sprawl...

A sense of destiny hangs over Sentir Que No Sabes, Mabe Fratti’s fourth solo-credited album released in a five year span. Her work has always possessed a finely tuned sense of drama capable of expressing a range of emotional states, and across this new album, she conveys the struggle to process various relationships or situations–and the actions that come next. Sentir Que No Sabes is urgent and clear, poppy, generous and approachable, while showcasing a considerable emotional hinterland. It is also, as Fratti is quick to mention, “groovy.”

Written and recorded with her partner, multi-instrumentalist, and co-composer Héctor Tosta (I.La Católica, Titanic), Sentir Que No Sabes is the result of an intense, detail-oriented process. Fueled by a new confidence gained in their collaborative project, Titanic, and its critically acclaimed 2023 LP, Vidrio, the two hunkered down in the familiarity of their studio (aka Tinho Studios) to bash out the initial sonic coordinates of her new record. “We talked and talked, and discussed ways of playing and recording, until things became inevitable,” Fratti explains. “We recorded a bunch of demos at our home studio and that meant we had a lot of time to re-edit and experiment. We really dug in. We were super focused on detail.” Tosta also took up the controls as producer and arranger-in-chief for all additional instruments. The album was later completed at Willem Twee Studios in Den Bosch in the Netherlands, and Pedro y el Lobo Studios and Soy Sauce Studios, in Mexico City.

For the final studio recordings, the pair were joined by drummer Gibran Andrade and trumpetist Jacob Wick to fill out and expand on Tosta’s percussion and brass arrangements. This small group of friends were able to work quickly and openly, and without fear: a testament to the exhaustive groundwork put in at Tinho Studios. This can be heard in three short, intermediary tracks that also manage to be the most aggressive on the record: “Kitana” (a scratch-laden instrumental that acts as a strange prelude for the last track, “Angel nuevo”) and a pair of two-minute instrumental interludes, “Elastica” I and II. None are throwaway mood pieces; rather they act as emotional cue cards, and hint at the way Fratti and Tosta created the overall atmosphere of Sentir Que No Sabes.

A strong sense of rhythm irrigates the sound from the jump, as heard on the glorious opening track, “Kravitz.” Here, the brilliant plucked cello line acts as a bassline and props up the steady thump of the kick drum. The cello’s growl serves as a conduit for a set of slightly paranoid lyrics that tell us “Quizás haya oídos en el techo” (“maybe there are ears in the ceiling”), while the song also introduces another staple of the record: the clever brass stabs, whistles, parps, and other interjections that paint a canvas of traffic in a city. It’s a postmodern, widescreen sound that for some might recall The Blue Nile’s Hats.

Sentir Que No Sabes is a record full to the brim with a modern pop sensibility, invoked by the sort of magpie spirit that ensnares anything it can find, repositioning sounds for the here and now. The keys and melody on the melancholy “Pantalla azul” (“Blue screen error”) transport us back to the glossy mid-1980s. “Oídos” (“Ears”) is a beautiful slice of contemporary, hybrid pop, in which Fratti’s vocal lines delicately spin themselves around the lean structures erected by the brass and drums, and the descending “plink” of a set of piano chords. Then we have a gloriously strong ending with the swell of “Angel nuevo” (“New angel”), another cinematic track full of gentle, instrument-rich swells and eddies that manages to be almost endless in its range–and yet intensely personal, as Fratti’s voice is close, almost whispering in your ear. A much needed lullaby for our fractious times.

The lyrics, for their part, have a stop-start quality to them, and hint at the small, incremental emotional taxes we pay through just living our lives. They circle around the music like birds waiting to swoop. There is something of the spiritual in all of Fratti’s work that expresses itself in a form of yearning: she looks to new horizons while personal dramas find themselves internalized, contextualized, and then dealt with through metaphor. Here, she was keen to mention Tosta’s constant encouragement in her finding a path to best sing or phrase her words to impart their maximum effect. “Hector was super inquisitive about my lyrics and asked me questions about what I meant, which sometimes is something you don't wonder so much about in isolation,” Fratti explains. “Besides, he is a great poet, and you can see that in what he did on the Titanic record. This made me go deeper into my lyric writing and definitely transformed it into something that I feel super happy about now.”

Take “Enfrente” (“In Front”), a track that initially comes across as a languid, glossy number, with plucked cello strings standing in for a bass line and brittle synth parts. Soon we catch on to a brilliant minor chord switch, which mirrors the fear and doubt expressed in the lyrics as someone “trembles up to the podium” in a “search for meaning.” There’s also the startling introduction of a vocoder in “Quieras o no” (“Whether you want it or not”); it comes precisely at the point Fratti sings “Quieras o no es un desastre” (“Whether you want it or not, it's a disaster”). Moments like these leave room for interpretation and, over time, create a strong bond between the listener and the record.

In fact, across Sentir Que No Sabes, each phrase–whether instrumental or vocal–becomes at some level emblematic of acts and moods that impart deep emotional significance. We see this best on “Intento fallido” (“Failed attempt”), which could be the score to feeling trapped in self-doubt, only to suddenly be sprung free by the song’s gloriously upbeat ending. On “Márgen del índice” (“Index margin”), the quicksilver switch between initial disharmony and a beautiful melody is breathtaking, all augmented by evocative arrangements, textured production, and the slightly playful, gnomic lyrics. The track’s emotional ecosystem allows another brilliant ending, which uses the simple repeated phrase, “Cómo lo va a ver?” (“How are you going to see it?”).

So what to make of Sentir Que No Sabes? High gloss Pastoralism? The sound of a city-bound, post-post modern soulscape? No matter the emotions evoked, it's the work of an artist coming into their own, and creating a benchmark record.

After an extensive catalog of digital deep, minimal and tech house releases, Mole Music makes its debut in the realm of vinyl with a fresh selection of dancefloor weapons from a fine array of artists, each offering their unique takes on deep house, tech, and minimal sounds. The A-side kicks off with JHNS "Nevermind", a minimalistic, low-end heavyweight groove driven by rubbery drums and a tight bassline. Steve End & Colau follow with a silky late-night hypnotic track, while El Funkador closes the A-side with an uplifting, drum-shuffling deep house cut, complete with funky synths and chord progressions. On the B-side, "Night Strobe", a collaboration between Alben, LAJE, and Erratic, brings a retro-futuristic feel with a fast-paced, garage-tinged vibe. This sets the stage for HOT DLVRY's "Friction", a thumping deep groove led by spacious chords and keys, all anchored by an analog bassline. To round off this well-balanced compilation, Craftsmanship delivers a warm, humid deep house sound featuring bold chords and punchy drums - one of the defining motifs of this standout EP.

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

Yet More already made waves with his track Erotic Trip, released as part of our Secret Weapons series back in 2023. What we particularly appreciate about his productions is his approach to groove and the influence of classic House Music vibes. The first track of the EP is a true groover, with pitched sample pieces that give the track the necessary depth and justify its name, 'Bounce.'

With Tryna Jack My Style, the pace picks up, becoming more driving and leading into piano chords that give the track its distinctive character, promising more excitement as we move to the final track, Back 2 Feelin’, the lead track of the EP. With its rhythm and a catchy synth hook that recalls the feel of Oni Ayun's classic tune (remember!?), it is stripped down and refined to its essence—a true highlight of the EP.

Wellington, New Zealand-based producer, drummer and band leader Cory Champion aka Borrowed CS delivers his second release on Planet Trip Records ~ Rise N Shine EP, expanding the infectious outsider boogie sound he explored on ‘Mystic Shuffle’ (off 2020’s Balance/Ascend EP) into a six-song suite of neon-lit machine funk, mutant post-disco and uptempo future soul. Draped in synthesisers that sparkle and glitter like summer sunlight hitting the harbour waters, the programmed Roland TR-606 drums and keyboard bass on these club tracks absolutely snap, wobble and groove.

From the space-aged melodies and throwback electro bounce of ‘All My People’ (featuring the pioneering British electronic soul vocalist Steve Spacek) to the dialled-in dancefloor weaponry of the title track and ‘Potplant’, the A-side of Rise n Shine unfolds like Friday night at a 1980s roller disco. On the flip, Champion reconnects with the idiosyncratic Māori singer-songwriter Mara TK to pen another golden-voiced chapter in the hi-tek South Pacific future soul story with ‘Hearsay’ before diving into some deep mid-tempo body music on ‘Subsonix’ and ‘Mystic Dream’. One for the dancefloor dreamers, Rise n Shine, will be available in 12” vinyl (limited to 300 copies) and digital versions.