Next up on Fluid Electronics, Irish producer Derek Carr joins up the fold with his “Harvest Time EP”, featuring Dutch techno staple Deniro on remix duty. Carr’s style, stretching from low-slung techno to squelchy electro, via breaks and chiselled IDM, teleports us to a zero-G headspace where shape and substance merge into an effervescing and highly stimulating maelstrom of sound. The very idea of self-reflexive dance music.
Fusing sino-flavoured harmonics with a straight out hi-tech edge, the lead single “Harvest Time” is the perfect balance between body and soul music, as it elegantly bridges the gap between that sense of weightless vaporousness and a more tactile punch. Pace itself feels relative. In the hands of Deniro, the track hatches into an eerily haunting piece of cinematic electronics, stressing further on the contrasting batucada-esque rhythms and slo-scudding synth tapestry.
The Italo-indebted “Dust Yourself Down” takes Moroder on a ride by the seashore, all arps and heavily processed keys blazing. Dipped in acid, “Rhea” pulls out a cascade of pretty aggro snares, prismatic bleeps, bloops, and a healthy dose of post-trancey waves crashing against a glassy sound design.
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Sechs Tracks. Zwei Seiten. Ein Gefühl
Manche sagen, diese EP sei wie eine Reise durch das Universum.
Andere sagen, sie ist einfach nur geil produziert.
Und dann gibt’s noch uns, REEEF, und wir sagen: Warum nicht beides?
Die „Universe EP“ ist der Beweis, dass Melodic Techno nicht nur tief und emotional sein kann, sondern auch richtig gut sitzt – wie dein Lieblings-Hoodie nach drei Tagen Festival.
Wir haben alles reingepackt:
Universe: Der Titeltrack. Ein epischer Opener, der mehr Stimmung macht als dein Barista mit Burnout.
Humanity: Technofrontalangriff mit Betonwänden – für alle, die es ernst meinen mit dem Raven.
Never Say Never: Melancholie auf House-Basis. Für den Moment, in dem du denkst: „Vielleicht bleib ich doch noch bis Montag.“
Daydreams: Der Track für 6:42 Uhr, wenn draußen der Nebel aufzieht und du kurz überlegst, ob das Leben nicht doch ein Musikvideo ist.
Bumblebee: Direkt im Ohr, klebt wie Honig im Hirn – nur eben clubtauglich.
Kryptonite: Der große Absch(l)uss. Melodic House mit Pop-Einschlag – emotional, energetisch, kein guilty pleasure, sondern einfach pleasure.
Für DJs. Für Hörer. Für Menschen mit Geschmack und funktionierendem Basssystem.
Auf 12” Vinyl gepresst, liebevoll angeordnet, Spielzeit optimiert – so wie Oma früher die Tupperdosen im Schrank. Nur mit mehr Kickdrum.
Fazit: Diese EP braucht keine Hype-Formulierungen. Die Tracks sprechen für sich. Und wenn nicht, übernehmen wir das Mikrofon – laut, tanzbar und mit einem leichten Hang zur Selbstüberschätzung.
REEEF – Universe EP! Jetzt überall, wo es gute Musik gibt. Und bald auch bei dir im Plattenkoffer.
Uluru is back with another Dibba production!
Italian dj and producer Dj Dibba open up to different sounds and surprise us with a contagious Uk Garage Remix.
On the flip, the producer from Albano Laziale (known as the italian Kingston) confirm himself as one of the reggae-hip hop raising stars with “Ego Skank”.
Pull up guaranteed!
Pressed on high quality black and transparent red vinyl (48 gr.)
Edition of 250, cut it loud and fat, highly recommended for big sound systems.
SPTLP008 - Aural Imbalance - Fractional Spaces LP
Returning for his third solo album on Spatial, Aural Imbalance continues his journey through the cosmos with a breathtaking array of breaks, bass and inimitable ambient wizardry.
A1 - Fading Reality
Kicking off the album we are treated to a blissfully ambient intro akin to a perfect sunrise across a tranquil unfurling landscape - just as we have come to know and love from Aural Imbalance. Long, airy washes of textured pads usher in a fantastically snappy break pattern which brings an alluring energy to proceedings, driving the track along with funnels of tuneful melodies lazily drifting by in the ambience.
A2 - This Time
Jumping right into the breaks DJ-style with a delicious Hot Pants pattern, This Time's central theme utilises a hypnotic simple but effective chime melody that plays a key role throughout the track, alongside fluttering birdsong and a luscious array of samples. The exquisite breakdown which delights with an incredible blend of bass atmospheric synths & pads is both beautiful and poignant.
B1 - Always With You
Introduced by what sounds like footsteps echoing through the darkness, Always With You lives up to its title by surrounding you with a warmth usually reserved for arriving home and nestling by the fire. Driven by delicate but vibrant breakbeats, this track showcases Aural Imbalance's relentless dexterity with ambient soundscapes dancing in perfect harmony with deep 808 bass and old school beats.
B2 - Solarity
Lightly excitable hats and elegantly filtered breaks open Solarity, a deeply evocative track with breakbeats rising through the intro towards a drop with solid analogue kicks and a wonderfully deep and persistent bassline. Sporadic micro melodies cruise the waves of floating synthwork, effects rippling gently in the foreground and background of the mix like playful phosphorescence.
C1 - First Protocol
Up next we see Aural Imbalance crack the amen knuckles with a real treat for old school heads - an ambient, synthy ambient laden with incredibly light spaced-out hats through the flowing waves is soon jolted into life by a satisfyingly crisp amen break, edited and programmed with flair and majestic detail that sits perfectly with the light, often sullen textured soundscape drifting above.
C2 - Crystals
An otherworldly landscape brimming with wonder and intrigue unfolds with Crystals, an atmospheric delight with a twist. The serene opening leads into a terrific old school break which takes center stage, punchy in the mix and edited with a precision as shimmering textures and meditative synthwork are expertly layered around the ever-rolling beats, perfect for any occasion at home or the 160bpm dancefloor.
D1 - Velarious
Continuing his showcase of breaks from across the atmospheric drum & bass spectrum, Aural Imbalance introduces Velarious with a quietly epic ambient flow, with filtered drums creeping in before the drop arrives, breakbeats buoyed by some seriously deep 808 bass and distinct hi hats. Micro melodies intersect and reverberate throughout the track to complete an enduring and eclectic composition.
D2 - South Coast Sunrise
Closing with a good old fashioned love letter to the Hot Pants break, South Coast Sunrise perfectly encapsulates its title with a gorgeous panoramic overlay of ambience, spread over an intensely memorable edit of that classic break - programmed and mixed to remarkable effect and cementing Aural Imbalance's ongoing rise as a master of edits as well as ambience, fully realised for our listening pleasure on Spatial.
SPTLP007 - ASC - Vanishing Point LP
Evolving further with each release, ASC delivers his latest monumental album on Spatial, a varied and memorable journey through stunningly realised fusion of modern and classic atmospheric breakbeats.
A1 - Mystic Street
Setting a murky tone with light cymbals and synthwork flecking the intro, Mystic Street calmly purrs and growls towards a drop of analogue kicks and a sparse, menacing drum pattern to kick off this incredible album. Enveloped by a dense cloud of darkly atmospherics, the track coils with tension, each element rippling through the mix like distant memories as the suitably enigmatic bassline rumbles beneath.
A2 - Convergence
Straight into the beats with a DJ-friendly two step intro, ASC utilises sparse, sci-fi hits and persistent danceable breakbeats with a melodic bassline. As the atmosphere builds, percussive tones punctuate the swirling pads, creating a luscious sense of forward motion with echoing samples and effects combining in the mix to create a dreamlike soundscape perfect for the dancefloor and headphones alike.
B1 - Invisible Borders
No ASC album would be complete without an amen workout, and we certainly have that here as Invisible Borders rushes into view with simmering intent, melodic samples tore from battlegrounds of yesteryear providing a truly epic atmosphere, rippling breakbeat trickery teasing the listener before crushing full contact amens arrive with panache and veracity - twisted across yearning bass with an unflinching fighting spirit.
B2 - Celestial Bodies
Up next a moment of calm as we soak up the charms of the dreamlike Celestial Bodies, a soothing journey of beats, breaks and atmosphere from Spatial's label head. Melodic notes ripple across the mix with old school breaks filtering to and fro, conjuring images of a cosmic journey unfolding, where old school breakbeat rhythms pulse like distant constellations, echoes shimmering in the vast expanse of ASC's versatility.
C1 - Losing Track Of Time
Into an absolute stunner next as ASC unleashes a modern classic which has a wonderfully instant familiarity to it - like it was lifted directly from the golden era of atmospheric drum & bass. The old school breaks have a distinctive feel while a variety of pads teaming with life swirl around above. A myriad of spirited melodies develop and maintain your attention with classic 808 basslines to complete this remarkable composition.
C2 - Slipstream
Switching up the vibe in style, ASC delivers an intense, cosmic intro to Slipstream which builds gradually with whooshing effects and long female vocals before a crisp, crunchy slice of Hot Pants breakbeat heaven tears through the mix, chock-full of excitable edits portrayed in a brilliant clarity. Warm sub bass punctuates the track while a reverberating earworm melody slowly etches itself into your mind.
D1 - Paradigm Shift
A good old fashioned roller up next as Paradigm Shift sees ASC blend a superb 2-step rhythm with a sumptuous smooth bassline - guaranteed to move the dancefloor. Atmospherics take no back seat either as elegant synthwork swirls and washes across the soundscape with subtly used vocal samples adding texture and warmth to an impressively layered mix that maintains its pace right through to an echoing conclusion.
D2 - Transmitter
Sending us back to interstellar space for an inspired mission through vast unexplored star systems, Transmitter sees ASC create a stunningly evocative, ethereal collage of atmospherics with sonar-like beeps punctuating and persisting throughout. Driving the track along are the superbly programmed drums, filtered and layered with twisted, distorted vocal samples to complete this exhilarating album in pure Spatial style.
With this new album, s8jfou resolutely turns toward the club scene and dancefloors, while preserving his unique signature: sharp technique, a subtle and playful approach combined with formidable efficiency. He also infuses a touch of nostalgia, giving the whole work a certain depth.
This is yet another demonstration of his ability to evolve while staying true to what makes him a singular and essential figure in the electronic music scene. Drawing inspiration from memory, s8jfou uses it as the guiding thread of this album, aiming to create a pictorial and visual atmosphere, punctuated by shifts in mood, as if the listener could 'zap' through their memories and make this soundtrack their own.
Through this approach, the artist seeks to evoke an intimate connection, allowing each listener to explore their own memories.
The album will be available in a limited edition, accompanied by a MIDI controller designed and crafted by s8jfou.
Astropolis Records, the label born from the legendary Brest festival, marks a decade of electronic passion with a sprawling, heartfelt anniversary compilation — slightly delayed, but still delivered with flair.
It comes in two EPs, spotlighting the many facets of the Astropolis universe: in-house artists, long-time festival collaborators, and rising stars from France’s ever-bubbling scene. Eighteen artists guide us through a sonic journey where rave heritage, electronic dreamscapes, and collective fervor converge — true to a festival whose DNA has never recognized borders.
The second EP dives into darker territories, spanning original electro, multifaceted techno, and sunlit vibes toward the close.
Astropolis has always thrived on happy collisions, and this EP is a perfect demonstration.
For synth lovers, Legowelt & Cuften revive the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude.
Zaatar & Trunkline inject raw energy on Come Into The Light, a sweaty, visceral banger bridging techno, dark disco, and EBM.
French scene stalwarts Scan X & Electric Rescue deliver a masterclass in elegant techno on Lost In Time.
When Manu Le Malin meets Kmyle, the result is as sharp as it is cinematic: Little Big Man builds dramatic tension, balancing raw emotion with contained fury.
On a more contemplative note, we’re thrilled to unveil one of the first productions from our dear Célélé with Théo Muller: the subtle Drum and Drift, threaded with dubby vibrations and sun-drenched bursts.
This anniversary compilation reaffirms the label’s openness to new generations and recent sonic hybrids while honoring the techno scene that shaped its beginnings. Like the festival itself, it embodies the same sincerity and collective energy: a small manifesto connecting generations, aesthetics, and territories — celebrating roots without nostalgia, and the future without bending to trends.
Astropolis Records, the label born from the legendary Brest festival, marks a decade of electronic devotion with a sprawling, heartfelt anniversary compilation — slightly belated, but executed with undeniable flair.
It also comes in two EPs, showcasing the many facets of the Astropolis universe: in-house artists, long-time festival collaborators, and fresh talent from France’s ever-bubbling scene. Eighteen artists guide us through a sonic journey where rave heritage, electronic dreamscapes, and collective fervor intertwine — true to the spirit of a festival that has never recognized borders
The first EP bathes in warm tones across electronica, house, g-tech, old-school rave, and melodic techno.
It opens with grace and magic via Rone, whose electronic touch conjures the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador delivers luminous melancholy, offering a gentle calm before the storm.
The unlikely pairing of Mézigue and Swooh catapults house into a g-tech vortex with the unrestrained Broken Roll To Venice, a compact fusion of groove, hybrid sounds, and playful inventiveness.
Belaria & Madben continue this alchemical thread on Into The Void, an incendiary anthem where 90s rave, EBM, and modern intensity collide in hypnotic trance.
For old-school dancefloor loyalists, KiNK finally resurrects a cult live set staple: Give Me, a bona fide banger merging breakbeat and vintage house, engineered for late-night sweat sessions.
Oniris & Benjamin Rippert revisit the melodic techno roots of the label on Sonate, demonstrating a masterful command of harmony.
This anniversary compilation underscores the label’s openness to new generations and recent sonic hybrids, while paying homage to the techno scene that shaped its early days. Much like the festival itself, it embodies the same sincerity and collective energy: a small manifesto connecting generations, aesthetics, and territories — celebrating roots without nostalgia, and the future without bowing to trends.
- A1: Lego Dave Du Shit (5*Kila Hyas Drm) 03 47
- A2: Rck Jumeaux 03 04
- A3: Bleast 02 55
- A4: A-Bient 1 00 31
- A5: B-Bient 2 00 34
- A6: C-Bient 3 00 42
- B1: Qui A Dub Maman ? 05 41
- B2: Îles Nvelles 05 12
- B3: D-Bient 4 00 51
- B4: E-Bient 5 00 51
- C1: Which Is Good (Prod. By Mad Rey) 03 20
- C2: Gagra 04 54
- C3: Sa Ronne 03 26
- C4: F-Bient 6 00 48
- D1: Last Jam Feat. Mad Rey 06 08
- D2: Mezacidub Iii 04 50
- D3: H-Bient 8 00 48
- D4: G-Bient 7 00/44
Lego Dave du Shit, a noble aristocrat from the vallée du Shit, traveled to the RCK JUMEAUX planet to answer the Bleast’s question: “Qui A Dub Maman?”
To do so, he had to explore the Îles Nvlles, inhabited by robots, where he learned the ancestral chant of the Witches of Good: “Which is Good.”
He’s waiting to return to Earth in September to reunite with his friend Loba from Gagra, and to take part in the LAST JAM of October.
That being said, he must also visit in November the guardian Mezacidub III, son of Mezacidub II and Valprius Organo (a clone of the Bilrituel Cyborg of Tarza Y7).
In a few words, APR7S is simply an expression used after the party – or “after” in English.
Lunfardo presents “Aurora" introducing the fourth conceptual album that deep dives into Uruguayan culture and misticism once again.
On March 3, 1976, Ángel María Tonna, owner of the ¨La Aurora¨ ranch in Paysandú, observed a strange flash of light near his shed. Upon approaching, he found a spaceship suspended 75 meters high, with an intense circular light that caused radiation effects later discovered in the ground. Simultaneously, a blackout occurred in the nearby cities of Paysandú and Salto, and several witnesses of lights crossing the sky were documented in the local press by major newspapers such as El Telegrafo.
Thereafter, Neil Armstrong, the first man to walk on the moon, visited Uruguay and the ranch several times, eight times to be exact. He shared photos of flying objects with Tonna and left a drawing in the house depicting space and "supreme beings." Despite UFO reports throughout Uruguay, ¨La Aurora¨ remains a mystical place. The truth is out there, or as it is sayed beneath there.
“Aurora EP¨ immerses us in two sides divided between Molen and Qasio. Side A invites us to explore the inexplicable in an abduction, a “close encounter” (Encuentro cercano) that transports us directly on a journey through outer space but also immerses us in the mysteries of "Ulimen." Side B offers a profound guide to worlds of "dark matter” (Materia Oscura), disconcerting presences, “orbs”(Orbes), and galaxies above our heads
Our journeys into uncharted lands of the Reducerverse continue.
Essential must-buy shit for all disciples of: The Rootsman x Muslimgauze, Love's Secret Domain era Coil, Chris & Cosey, Meat Beat Manifesto, early Reinforced Recs, Shut Up & Dance, He Dark Age, Zombies Under Stress, SPK.
If you've just joined us: Reducer ARE the greatest lost dub punks. Rumoured to have almost signed to On-U Sound but told Sherwood to stuff it when he wanted his hands on the desk. Fame never found them, cos they didn't want it anyway. Living in the obscure memories of the select squatters and weirdos lucky enough to have had their minds blown, their first recordings were scraped off the linings of the cosmic dustbin recently through a series of self-released 12"s, cassettes, USBs and strangest of all a 3D performance screened at the Cube (in association with pals Bokeh Versions).
In short: Reducer's the most thrilling fairytale resurrection these pages have been privy to, joining 23 Skidoo, Killing Joke, PiL, Slits, Terminal Cheescake etc on the Mount Olympus of the Punky Reggae Party.
This latest slice of karmic justice comes from The Human Aerial aka Reducer's guitarist and prime mover Hooly. And ohhhh what a justice it is. Drawing on 40 years of private solo recordings across 7 tracks from Abu Ama style dabke jaguar steppas punishment to thumping bass-led electro, peak Depth Charge dubby big beat to careening breakbeat hardcore, trashcan gamelan spirituals and Jamie Vex'd style maximalist beats blissouts,
Tying together this jaw-dropping range of styles and fashions is a relentless sampladelic bombardment. The Human Aerial's habitual pilfering of TV and radio for into lovingly spliced tape loops and samples showcases humanity at its best and absolute worst. Tele-evangelists rub shoulders with long dead chieftans: "there is no death, only change of worlds" "We're MAD AS HELL AND WERE NOT GONNA TAKE IT ANYMORE" "THe land is sacred, a cathedral of the spirit". These wisdoms and grave sins slip into us subliminal through the dance, the needle drops like a waking dream.
While the Reducer archives may be running low, we assure you the Human Aerial coffers are full. And long may our minds be blown by this ongoing renaissance.
Disco De Jure made a great debut with its first release and now backs that up with more quality for lovers of classic disco with a contemporary twist. It is the rather mysterious Nico Bellari who steps up to edit this into his own vibe. 'If The Music Makes You Feel Like Dancing' gets underway with lush strong stabs, rolling drums and squelchy synth work that will get those hands in the air. The dub De Jure is a glossy version paired back to the groove, and on the flip, the timeless joys of Gloria Estefan's 'Rhythm Of The Night' get a subtle update with more club-ready kicks. A dub concludes this useful package.
Darwin's new label Biofield Records launches itself into the musical ether with a four-track EP from French producer A Strange Wedding. For this inaugural offering, the artist sets the tone with tunes that treat music as an energetic field, with low-end frequencies guiding us toward transcendental states. 'The Null Zone (feat NP)' weaves ritualistic atmospheres with bass-driven momentum into a heady and full-bodied trip. 'Breach Vector' continues the producer's knack for blurring boundaries between the physical and the spiritual while exploring liminality and transformation, and 'Hyperdimension' keeps I dark and minimal while moving at pace. This is a fine first it of curation from Biofield.
Support from: Cream, Lady Duracell, Makossa, Robert Harding, Paul Thomas, Kiberu, Ede, Yves Eaux, Yas Cepeda, Francesco Chiocci, Lonya, PAAX, Yet More, Themba, Noel Sanger, Alex Neri, Gavin Hardkiss, Nicolas Masseyeff, Luke Garcia, Nhar / Bernhard Siefert, Underspreche,
Now, pushing the envelope with a fresh, contemporary flavor, Kwanzaa Posse offers African Kolors,
a gorgeous, warm Afro-inspired gem that exudes good vibes, while the alternative mixes take us deeper and
more underground. The vinyl includes two exclusive versions by Fulvio Perniola (FATHERS OF SOUND).
Written, Composed and Produced b: Kwanzaa Posse & Piero De Asmundis
at Kwanzaa Posse Studio, Pozzuoli, Naples (Italy) for Undiscovered Recordings Ltd.
Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.
PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”
Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."
“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.
PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”
“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.
To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.
PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”
Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.
credits
Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024
Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis
Special thanks to: Stijn Cools, Victor De Greef, De Grote Post
Continuing his refraction of the rave continuum into pointedly dislocated, delicately bruising sound system meditations, Low End Activist returns to Peak Oil with a second instalment in his Airdrop series. This time around, he channels the ghosts of foundational tech-step and the quantum leaps of late-90s D&B to provide the inspirational fuel for his skeletal, astral constructions. A strong stylistic thread continues to weave through the LEA output from his earlier self-released EPs and Sneaker Social Club albums, where haunted atmospherics, blown out subs and snatches of breaks dart around each other in empty dancehalls, but the finer point of the sound design and synthesis makes very specific references to landmark moments in hardcore's evolution.
By weaving his own autobiography into the music, the Activist maintains a fundamental theme of his work to date. 'Colin's Golf', 'Smithy's Porsche,' 'Merv's Lazy Eye' and 'Brillo's Teeth' are all personal codes harking back to the formative Oxford rave scene. With the framework in place, he uses textures, timbres and studio tricks from scene-leading pioneers and local heroes of the era as ingredients in thoroughly modernist concoctions. None of the reference points are deployed as literal callbacks — they're waymarkers for the creative process and faint triggers bedded deep into Airdrop II's strange formations. Fleeting sonics might trigger latent memories for those who were there. For everyone else, Airdrop II is another step further along rave's eternally unspooling odyssey, guided by decades of precedents on a path into the future.
Reissue 2025
"Get Up Stand Up" is a 2004 song by the Italian dance project Stellar Project,
created by singer-songwriter and producer Stefano Sorrentino, featuring American actress and singer Brandi Emma.
Their song, thanks to mixes by Phunk Investigation, reached number one on the US dance airplay chart (Billboard) on November 20, 2004.
The song also reached number 14 on the UK singles chart that same year.
RAWAX proudly presents Acid Jesus aka Roman Flügel & Jörn Elling Wuttke with her groundbreaking debut album called "Acid Jesus" from 1993
Following the title of the classic Ecstasy Club record - be it a direct influence or merely a coincidence - Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.
Situated in Germany’s then blistering techno scene and especially a mirror of Frankfurt at the time, the early recordings are also a feedback loop to what was happening in the UK and the USA before and at that very time. With many definitions and interpretations of techno already in place, and while its triumphal procession slowly geared itself into exhaustion, Flügel and Wuttke succeeded with their own and unique take on it, that owned as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall. Depicting the booster detonation of what was to become the holy label trinity of Playhouse, Klang and Ongaku, this is a collection of tracks and experiments in sound that won’t sound dated, yet classic, mesmerizing and eternal. Jesus loves the acid and vice versa.
First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.
‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.
KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!
Enjoy, This Is Real Talks Records.
VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN




















